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Some albums are reissued. Others are remastered. And then there’s Turnstile. <\/p>\n\n
A year after releasing *Never Enough*<\/em>\u2014the album that definitively proved that hardcore could take over stadiums, mainstream festivals, and the Grammys without losing its identity\u2014the 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<\/strong>.<\/p>\n\n The result is called Never Enough: Versions<\/strong><\/em> and will be released on August 28 via Roadrunner Records<\/strong>. According to the project\u2019s own description, it is neither a remix album nor a conventional cover album. It is a complete reinterpretation<\/strong> of the songs from *Never Enough*<\/em>, now infused with the sensibilities of 23 guest artists. <\/p>\n\n And you only need to read a few names to understand the scope of the experiment:<\/p>\n\n Elton John. Dying Fetus. Hayley Williams. Four Tet. Blood Orange. A.G. Cook. Julien Baker. Slayyyter. Alex G. <\/strong><\/p>\n\n In any other context, that list would seem like a mistake on the festival’s part.<\/p>\n\n In Turnstile, it makes perfect sense.<\/p>\n\n That’s probably the image that best captures *Never Enough: Versions<\/em>*.<\/p>\n\n On the one hand, Elton John<\/strong>, one of the greatest figures in pop and rock of the last half-century.<\/p>\n\n On the other hand, Dying Fetus<\/strong>, one of the most extreme and technically devastating bands in American death metal.<\/p>\n\n Both appear in the same project.<\/p>\n\n And between those two extremes lie nearly all the genres of contemporary alternative music: the electronic music of Four Tet<\/strong> and Floating Points<\/strong>, the futuristic pop of A.G. Cook\u2019s<\/strong> futuristic pop, Julien Baker\u2019s<\/strong> emotional universe, Blood Orange\u2019s<\/strong> experimentation, Faye Webster\u2019s<\/strong> sensitivity, Angel Du$t\u2019s<\/strong> hardcore, Shabaka\u2019s<\/strong> contemporary jazz, and the club sounds of Kettama<\/strong> and Rod Lee<\/strong>.<\/p>\n\n It doesn’t look like a list of contributors.<\/p>\n\n It sounds like a statement of principles.<\/p>\n\n The complete list of announced guests is as follows:<\/p>\n\n For now, Turnstile hasn’t revealed which artist is featured on each song<\/strong>, 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. <\/p>\n\n Because *Never Enough*<\/em> didn’t need to be corrected.<\/p>\n\n I needed to keep changing.<\/p>\n\n Released on June 6, 2025<\/strong>, Turnstile’s fourth album marked another leap forward following the sensation caused by *Glow On*<\/em> in 2021. The album debuted at No. 9 on the Billboard 200<\/strong>, becoming the band\u2019s most commercially successful album in the United States, and reached No. 1 on the Hard Rock Albums chart. <\/p>\n\n But what was truly important was its cultural impact.<\/p>\n\n Turnstile proved once again that hardcore could incorporate pop melodies, electronic atmospheres, psychedelia, and experimental production without losing its physical intensity.<\/p>\n\n That approach ultimately paid off at the 2026 Grammys<\/strong>.<\/p>\n\n “Never Enough<\/em> ” won the award for Best Rock Album<\/strong>, while “Birds” took home Best Metal Performance<\/strong>. These were the first two Grammys of the band’s career. <\/p>\n\n And perhaps it is precisely that success that makes *Versions*<\/em> so interesting.<\/p>\n\n Instead of protecting the album that finally propelled them into the mainstream, Turnstile has decided to make it available again.<\/p>\n\n For years, much of the conversation about Turnstile has revolved around one question:<\/p>\n\n Are they still hardcore?<\/strong><\/p>\n\n That question probably doesn’t matter much anymore.<\/p>\n\n With Glow On<\/em>, Brendan Yates and his band have turned the genre into a starting point rather than a boundary.<\/p>\n\n Never Enough<\/em> 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 \u201cbest of 2025\u201d lists. <\/p>\n\n Now Versions<\/em> seems to be taking that philosophy to its logical conclusion.<\/p>\n\n 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.<\/p>\n\n Not all of the guests are coming from out of town.<\/p>\n\n Hayley Williams<\/strong> and Blood Orange<\/strong> had already contributed to the original album, so their return to *Versions*<\/em> makes perfect sense. Rather than simply repeating that collaboration, they will now have the opportunity to reinterpret material that they themselves helped expand. <\/p>\n\n Williams’ presence is particularly significant.<\/p>\n\n 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.<\/p>\n\n That same spirit seems to permeate the entire project.<\/p>\n\n Although the guest list is international in scope, *Never Enough: Versions*<\/em> maintains important ties to the city where Turnstile was formed.<\/p>\n\n The presence of Baltimore club pioneer Rod Lee<\/strong>, trumpeter Brandon Woody<\/strong>, and Angel Du$t<\/strong>\u2014a band with deep ties to current and former members of Turnstile\u2014brings part of the project back to its roots. <\/p>\n\n That prevents the album from becoming merely a showcase of famous names.<\/p>\n\n Turnstile continues to look outward while keeping its eyes on home.<\/p>\n\n The past year has been extraordinary for the band.<\/p>\n\n After releasing *Never Enough*<\/em>, Turnstile took the album on tour to festivals like Coachella, Primavera Sound, Bonnaroo, and Lollapalooza<\/strong>, 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. <\/p>\n\n The band is currently on tour in Europe and will perform at All Points East<\/strong>, Rock en Seine<\/strong>, and MEO Kalorama<\/strong> before embarking on another extensive North American tour in September.<\/p>\n\n In this context, *Versions*<\/em> seems less like an appendix to the album and more like the next chapter in an expansion that has yet to reach its limit.<\/p>\n\n There is a particularly intriguing story behind this list of contributors.<\/p>\n\n For decades, music scenes were built around borders.<\/p>\n\n Hardcore over here.<\/p>\n\n Pop over there.<\/p>\n\n Electronics in another space.<\/p>\n\n Metal goes even further.<\/p>\n\n Turnstile belongs to a generation for whom those divisions are becoming less and less relevant.<\/p>\n\n The same listener can listen to Dying Fetus, Four Tet, Elton John, Oklou, and Blood Orange all in one afternoon.<\/p>\n\n “Never Enough: Versions<\/em> ” seems to be built precisely on that contemporary understanding of music.<\/p>\n\n There are still important questions that remain.<\/p>\n\n We don’t know which songs correspond to each guest.<\/p>\n\n We don’t know how much of the original recordings will be preserved.<\/p>\n\n We don’t even know how far Turnstile will take the concept of \u201creimagining.\u201d<\/p>\n\n And that’s a big part of its appeal.<\/p>\n\n After winning two Grammys for *Never Enough*<\/em>, the safest bet would have been to leave the album as is and continue touring.<\/p>\n\n Turnstile has chosen the opposite.<\/p>\n\n Open the songs.<\/p>\n\n Share them.<\/p>\n\n And let other artists distort them.<\/p>\n\n 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:<\/p>\n\n There’s never enough.<\/strong><\/p>\n\nElton John and Dying Fetus on the Same Album<\/h2>\n\n
All the artists participating in Never Enough: Versions<\/em><\/h2>\n\n
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But why reinvent an album that was already a success?<\/h2>\n\n
Hardcore that stopped asking for permission<\/h2>\n\n
Hayley Williams and Blood Orange were already familiar with this universe<\/h2>\n\n
Baltimore is also featured on the album<\/h2>\n\n
From Coachella and Primavera to the Grammys<\/h2>\n\n
The album that captures what Turnstile stands for today<\/h2>\n\n
August 28, and the experiment begins<\/h2>\n\n
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