Never Enough

Turnstiles third album, Glow On, broke them out of the hardcore scene and into the mainstream, earning near-universal acclaim, a Grammy nomination, and prominent chart placements around the world. Since their formation in 2010, the Baltimore band have tested the genres borders, infusing their heavy music with unexpected musical references and an exploratory nature, traits they amplified on Glow On. Arriving four years later and weighted with expectations is Never Enough, the groups fourth full-length. Produced by frontman Brendan Yates with assistance from hardcore specialist Will Yip, this is the sound of a band in their creative prime, undaunted -- and quite possibly ignited -- by the spotlight now trained on them. Its their first release without founding guitarist Brady Ebert, who is replaced by new member Meg Mills, and even if the change is subtle, Turnstile have turned a corner here. Without abandoning their hardcore roots, they embrace a definitively more melodic sound that visits all sorts of locales, from lush dream pop and electronica to pristine, funky alt-rock and thrashy nu metal, all of it played with confidence and finesse. Across the board there is a greater emphasis on Yates voice, which is its own unique instrument. In its more explosive moments, comparisons to Perry Farrells melodic snarls are inevitable, and the heavy use of delay and other vocal effects nods to Janes Addictions 1988 classic Nothings Shocking. Conversely, the hooky "Seein Stars" sounds like the Police filtered through a glassy Cocteau Twins sheen. Even within songs that at first seem like straight-ahead melodic hardcore bangers, surprises abound, like the majestic tribal drums and synth line in the latter half of "Sole" or the horn line in "Dreaming." Never Enough is a deliberately more synth-driven and effects-heavy album than Turnstiles previous output, yet it feels just as vital and gutsy because of how it plays with the mix. Bookended by the rousing title track and radiant "Magic Man," its a success from start to finish, offering a deft blend of surprise and satisfaction. ~ Timothy Monger

昨年の〈フジロック〉や単独公演でライヴの凄さを知らしめ、次世代ハードコアの頂点に君臨している彼ら。グラミー賞で4部門にノミネートされた前作を経て、ついに届いた4枚目のアルバム。ヘヴィーなリフで疾駆する"Sole"Birds"とハードコア曲を揃える一方、シンセやアンビエント要素を拡張させ、楽曲の夢幻性やスケール感を一段と高めることに成功。新機軸としてホーンズを導入した"Dreaming"や雄大なフルートで締め括られる"Sunshower"に驚くファンも多いはず。もはや何をやってもターンスタイル色に染め抜くセンスに脱帽。今年のベスト・アルバムはこれで決まり。
bounce (C)荒金良介