“Never Enough Versions ” will arrive as a surprise on August 28, featuring 23 collaborators from seemingly incompatible worlds. Turnstile transforms the album that earned them their first Grammys into a laboratory where hardcore, pop, electronic, indie, and death metal speak the same language.
Some albums are reissued. Others are remastered. And then there’s Turnstile.
A year after releasing *Never Enough*—the album that definitively proved that hardcore could take over stadiums, mainstream festivals, and the Grammys without losing its identity—the Baltimore band has decided to do something much stranger: take it all apart and rebuild it alongside some of the most unpredictable artists on the planet.
The result is called Never Enough: Versions and will be released on August 28 via Roadrunner Records. According to the project’s own description, it is neither a remix album nor a conventional cover album. It is a complete reinterpretation of the songs from *Never Enough*, now infused with the sensibilities of 23 guest artists.
And you only need to read a few names to understand the scope of the experiment:
Elton John. Dying Fetus. Hayley Williams. Four Tet. Blood Orange. A.G. Cook. Julien Baker. Slayyyter. Alex G.
In any other context, that list would seem like a mistake on the festival’s part.
In Turnstile, it makes perfect sense.
Elton John and Dying Fetus on the Same Album
That’s probably the image that best captures *Never Enough: Versions*.
On the one hand, Elton John, one of the greatest figures in pop and rock of the last half-century.
On the other hand, Dying Fetus, one of the most extreme and technically devastating bands in American death metal.
Both appear in the same project.
And between those two extremes lie nearly all the genres of contemporary alternative music: the electronic music of Four Tet and Floating Points, the futuristic pop of A.G. Cook’s futuristic pop, Julien Baker’s emotional universe, Blood Orange’s experimentation, Faye Webster’s sensitivity, Angel Du$t’s hardcore, Shabaka’s contemporary jazz, and the club sounds of Kettama and Rod Lee.
It doesn’t look like a list of contributors.
It sounds like a statement of principles.
All the artists participating in Never Enough: Versions
The complete list of announced guests is as follows:
- A.G. Cook
- Alex G
- Angel Du$t
- Blood Orange
- Brandon Woody
- Chanel Beads
- Dan Deacon
- Dying Fetus
- Elton John
- Faye Webster
- Floating Points
- Four Tet
- Hayley Williams
- Julien Baker
- Kettama
- Mustafa
- Nourished by Time
- Oklou
- Panda Bear
- Porches
- Rod Lee
- Shabaka
- Slayyyter
For now, Turnstile hasn’t revealed which artist is featured on each song, which makes the week leading up to the release an especially exciting game: imagining where Elton John might fit in, which track will end up in the hands of Dying Fetus, or what a Turnstile song mixed with Four Tet will sound like.
But why reinvent an album that was already a success?
Because *Never Enough* didn’t need to be corrected.
I needed to keep changing.
Released on June 6, 2025, Turnstile’s fourth album marked another leap forward following the sensation caused by *Glow On* in 2021. The album debuted at No. 9 on the Billboard 200, becoming the band’s most commercially successful album in the United States, and reached No. 1 on the Hard Rock Albums chart.
But what was truly important was its cultural impact.
Turnstile proved once again that hardcore could incorporate pop melodies, electronic atmospheres, psychedelia, and experimental production without losing its physical intensity.
That approach ultimately paid off at the 2026 Grammys.
“Never Enough ” won the award for Best Rock Album, while “Birds” took home Best Metal Performance. These were the first two Grammys of the band’s career.
And perhaps it is precisely that success that makes *Versions* so interesting.
Instead of protecting the album that finally propelled them into the mainstream, Turnstile has decided to make it available again.
Hardcore that stopped asking for permission
For years, much of the conversation about Turnstile has revolved around one question:
Are they still hardcore?
That question probably doesn’t matter much anymore.
With Glow On, Brendan Yates and his band have turned the genre into a starting point rather than a boundary.
Never Enough took that principle even further, combining bursts of hardcore with pop, dream-rock, electronic music, and almost cinematic atmospheres. Critics received the album with tremendous enthusiasm, and it ended up appearing on numerous “best of 2025” lists.
Now Versions seems to be taking that philosophy to its logical conclusion.
If the Turnstile universe can simultaneously encompass Elton John, Panda Bear, Hayley Williams, Slayyyter, and Dying Fetus, then perhaps the band no longer belongs to any specific genre.
Hayley Williams and Blood Orange were already familiar with this universe
Not all of the guests are coming from out of town.
Hayley Williams and Blood Orange had already contributed to the original album, so their return to *Versions* makes perfect sense. Rather than simply repeating that collaboration, they will now have the opportunity to reinterpret material that they themselves helped expand.
Williams’ presence is particularly significant.
Turnstile and Paramore belong to different generations and scenes, but they share one fundamental trait: both bands have spent years pushing the boundaries of the labels that initially sought to define them.
That same spirit seems to permeate the entire project.
Baltimore is also featured on the album
Although the guest list is international in scope, *Never Enough: Versions* maintains important ties to the city where Turnstile was formed.
The presence of Baltimore club pioneer Rod Lee, trumpeter Brandon Woody, and Angel Du$t—a band with deep ties to current and former members of Turnstile—brings part of the project back to its roots.
That prevents the album from becoming merely a showcase of famous names.
Turnstile continues to look outward while keeping its eyes on home.
From Coachella and Primavera to the Grammys
The past year has been extraordinary for the band.
After releasing *Never Enough*, Turnstile took the album on tour to festivals like Coachella, Primavera Sound, Bonnaroo, and Lollapalooza, confirming something that had seemed unlikely just a few years earlier: a band that emerged from the Baltimore hardcore scene could become one of the biggest names at international festivals.
The band is currently on tour in Europe and will perform at All Points East, Rock en Seine, and MEO Kalorama before embarking on another extensive North American tour in September.
In this context, *Versions* seems less like an appendix to the album and more like the next chapter in an expansion that has yet to reach its limit.
The album that captures what Turnstile stands for today
There is a particularly intriguing story behind this list of contributors.
For decades, music scenes were built around borders.
Hardcore over here.
Pop over there.
Electronics in another space.
Metal goes even further.
Turnstile belongs to a generation for whom those divisions are becoming less and less relevant.
The same listener can listen to Dying Fetus, Four Tet, Elton John, Oklou, and Blood Orange all in one afternoon.
“Never Enough: Versions ” seems to be built precisely on that contemporary understanding of music.
August 28, and the experiment begins
There are still important questions that remain.
We don’t know which songs correspond to each guest.
We don’t know how much of the original recordings will be preserved.
We don’t even know how far Turnstile will take the concept of “reimagining.”
And that’s a big part of its appeal.
After winning two Grammys for *Never Enough*, the safest bet would have been to leave the album as is and continue touring.
Turnstile has chosen the opposite.
Open the songs.
Share them.
And let other artists distort them.
Perhaps because the philosophy that has taken the band from small hardcore venues in Baltimore to the world’s biggest festivals remains exactly the same:
There’s never enough.
