It's that time of year again. The nights are growing longer, the weather is Baltic, the mulled wine is aflowing. In what has been another year of political turmoil, social unrest and dreadful tiktoks, at least we have the ever consistent joy, our one true love to get us through another 12 months - Music. This year has seen some of the strongest releases we've seen for a while across multiple genres, and, as always, we've been keeping a track of it all. So grab some headphones, head out into the wilderness (or by a nice toasty fireplace if you're averse to the outside world), and bathe in the wonder of Punktastic's Top 25 Albums Of The Year; voted for by Team Punktastic.
25. Mayday Parade – ‘Sad’
With âSadâ, Mayday Parade have found a way to honour their past sound without getting trapped inside it. Thereâs familiarity here sure, but itâs not aimlessly tugging at threads of nostalgia. Itâs new – and itâs the most honest theyâve been in years. You canât help but ache with them as they let you drift through these lived-in experiences bound to – delicate lyricism. The production – tender though it is – does cut you, and youâll see why they named it as they did. It sneaks up on you if you let it. I recommend you do. [Jess McCarrick]
24. We Lost The Sea – ‘A Single Flower’
Six years is always a long time between records, even-longer given how much has changed for everyone since 2019’s ‘Triumph & Disaster’, but across the six sprawling tracks that make up 2025’s “A Single Flower”, it’s evident that the band have dissected and calculated every single moment on the album’s lengthy 71-minute running time. From the nuanced understanding of creating atmosphere on ‘If They Had Hearts’ and ‘Everything Here Is Black and Blinding’, to the relentless drive of ‘A Dance With Death’, the cinematic beauty of ‘Bloom’ and ‘The Gloaming’ – the album could well have ended here and been more than a satisfactory listen, but instead they offer the monolithic world-building of 27-minute long closer ‘Blood Will Have Blood’. A track that pushes and pulls the audience through sections of grandiose swells to punishing and apocalytpic riffs. Ten years on from the critically acclaimed ‘Departure Songs’ and one thing is for certain, We Lost The Sea have mastered the art of creating tension and relief, “pay-attention and the pay-off will be worth it”. ‘A Single Flower’ has well and truly cemented the Australian band in the elite category of post-rock around the globe. [Jez Pennington]
23. Forlorn – âAetherâ
Five years ago, a sponsored Instagram post caught our attention; a new band, stylized pictures, a hint of music. Forlorn promised atmospheric metal riffs, they promised spine-
chilling singing and vicious screams, they promised witchcraft. They promised so much.
Slowly, they drip-fed a series of singles, then an EP, each carving out their sound, digging into their pagan roots, searching. On âAetherâ those promises are fulfilled.
Embracing the idea of rites and rituals, âAetherâ has a clear sense of purpose. Built around a canvas of metal riffs, chanting and eerie soundscapes, itâs an immersive experience designed to make hairs on your neck stand up. While the sound is heavy and venomous, itâs also
achingly beautiful. By using unusual melodies and vicious screams vocalist Megan Jenkins tells stories with the shape of her voice, making each song an emotional tug-of-war. âCreatressâ seethes with whispered anger, the sweeping scope of âThe Wailingâ makes for a poignant journey, her singing on âFuneral Pyreâ or âKeeper Of The Wellâ linger in your imagination long after the final notes play out. It’s all utterly bewitching.
Atmosphere permeates everything. The songs flow between dreamlike and nightmarish, bleeding into interludes that evoke misty woodlands and open moorlands haunted by whispers and screams. Like will-o-the-wisps they draw you toward âSpiritâ a powerful finale built around repeating melodies. It’s a beautiful and unsettling way to tie together the record’s themes, leaving you in no doubt that Forlorn havenât just found themselves, theyâve made a debut record that is easily amongst the yearâs best. [Ian Kenworthy]
22. EYES – ‘Spinner’
Imagine, if you can, an exact sweet spot between the downtuned cybernetic chaos of bands like Frontierer and Car Bomb, and the confident stomp and swagger of bands like Every Time I Die and The Bronx. Thatâs the space that Danish hardcore quintet EYES occupy on the excellent âSpinnerâ. The album lulls the listener into a false sense of security with a cutesy anime-esque intro before launching into the 60 second scorcher that is âBetterâ. For the 20-ish minutes that follow, there is absolutely nowhere to hide from the bandâs unwavering assault, led by a truly feral performance from vocalist Victor Kaas. Given the short runtime and relentless momentum of the record itâs difficult to pick a highlight, but lead single âSave Face On A Regular Basisâ stands out thanks to a bludgeoning guest appearance from KEN Mode frontman Jesse Matthewson. If you find yourself with a spare half hour and fancy having the shit kicked out of you, this is the perfect soundtrack for it. [Liam Knowles]
21. Thrice – ‘Horizons/West’
25 years and 12 albums since the release of their debut album, Thrice prove once again they’re the masters of evolution. ‘Horizons/West’ offers the 2nd chapter to 2021’s ‘Horizons/East’; allowing a pocket of time in the middle for them to revisit their earlier days with the re-recording and anniversary tour of 2003’s ‘The Artist in the Ambulance’, and with this in mind, it’s clear that the band have approached this new record with an invigorated appreciation for where they’ve been and where they can go. Whether it’s pulling and extracting elements of their post-hardcore roots, the bluesy experiments of ‘Major/Minor’, the electronic ambience of ‘The Alchemy Index’, or the grungy bite of ‘To Be Everywhere Is to Be Nowhere’ – ‘Horizons/West’ is yet another stroke of nuanced excellence from a band that refused to believe there ever was a ceiling. [Jez Pennington]
20. Bleed From Within – ‘Zenith’
‘Zenith’ is one of the most interesting records in metal this year. Bleed From Within have experimented a lot with different sounds in this album, but the fusion between melodic death metal guitar riffs and Scottish bagpipes is not what listeners can experience often… and yet this combination shines so bright in the single ‘In Place of Your Halo’. Another phenomenal and outstanding move in ‘Zenith’ was a monumental choir use in ‘Known by No Name’ and ‘Immortal Desire’ by no other than iconic vocal ensemble Choir Noir. ‘Zenith’ might be the most mature sounding album by Glaswegians and well-rounded production wise. While earlier band efforts – ‘Shrine’ and ‘Fracture’ were great – with this album, the have band reached its peak potential and listening to this album from the beginning until the end is nothing but the pure enjoyment of the finest metal sounds. [Karolina Malyan]
Read our live review of Bleed From Within at Download Festival
19. Orthodox – âA Door Left Openâ
Thereâs something incredibly enticing about fear and the adrenaline surges that it can create, and Orthodox have managed to capture that with âA Door Left Openâ. The record – a concept album of sorts, written about paranoia, inner turmoil and the absence of control in those moments – is a relentless onslaught of widescreen claustrophobia, with metallic hardcore power filling every inch of the mix and leaving nowhere for you to hide. Tracks like âSacred Placeâ and âCommit To Consequenceâ are out for blood immediately, where tracks like âOne Less Bodyâ and the moody album closer âWill You Hate Meâ feel eerily menacing. Where Knocked Looseâs recent output represents a stalking, ominous, malevolent kind of horror, âA Door Left Openâ feels like an unending, palpitating panic; a twelve-track thriller with a blood-thirsty antagonist, restlessly slashing at your heels. Be very, very afraid. [Dave Stewart]
18. AFI – âSilver Bleeds the Black Sunâ
Post-punk has been in AFIâs genes since their hardcore days; now itâs their time to let it flourish on a record that blooms with love of the sound that inspired them. Davey Havokâs voice was made for the kind of iconoclastic intonation we hear on âHoly Visionsâ, a song dropped before we even had time to recover from discovering their new direction on âThe Bird Of Preyâ, a song startling in its power. Theyâve matured beyond their hardcore days and produced an album that reflects both the wisdom of knowing who they are at their heart and the boldness to put it on display. âSilver Bleeds The Black Songâ is a modern goth masterpiece. [Kate Allvey]
Read our full review of ‘Silver Bleeds the Black Sun’
17. Dayseeker – ‘Creature In The Black Night’
Dayseekerâs sixth output, âCreature In The Black Nightâ finally sees the band hit the heights theyâve always had the ability to reach. Itâs an album that mixes metalcore and synthwave capably and effectively. Each aspect brings their own strength, the synth-led tracks offer a softer tone for Rory Rodriguezâs sensational vocals to take the main stage, with the likes of âSoulburnâ and âThe Living Deadâ really showing off the dexterity in his voice. Meanwhile, âMeet The Reaperâ and, particularly, âBloodlustâ prove that the band themselves can hold their own with the very best. Heavily tinged with horror movie elements, Rodriguez uses tropes to depict mental health, apathetic lovers, and loneliness to great effect, and itâs a theme that ties the album together. [Andy Joice]
16. The World Is A Beautiful Place & I Am No Longer Afraid To Die – ‘Dreams of Being Dust’
Itâs hard to think of a band whose sound has been more changed by the world around them than post-emo collective The World Is A Beautiful Place & I Am No Longer Afraid To Die. They played a huge part in the so-called âemo revivalâ of the 2010s with seminal albums like âWherever, If Everâ and âHarmlessnessâ, and whilst their music has always been emotional, it has never really had anger at the forefront. That has all changed with the absolute masterpiece that is âDreams of Being Dustâ, undoubtedly the most complete and essential album in their discography. Building on the progressive nature of its predecessor âIllusory Wallsâ, the album uses every weapon available to convey the bandâs disgust at the state of the world.
The true highlight of this album is its centrepiece, the devastating âCaptagonâ, but really this album is best enjoyed as a full piece of work, and there isnât a moment wasted throughout the 44 minute runtime. âDimmed Sunâ opens the record with blastbeats and angular riffage that harks back to 00s metalcore bands like Misery Signals and Shai Hulud, and that rage and aggression reappears throughout on tracks like âSe Sufre Pero Se Gozaâ and âBeware The Centristâ. Thatâs not to say that TWIABP have abandoned their softer roots; âNo Pilgrimâ and âAuguries of Guiltâ are more melodic numbers but are no less scathing lyrically. The former speaks of people becoming detached from each other due to technology, and the latter is a damning indictment of the genocide in Palestine and all those who have enabled it. âDreams of Being Dustâ is a perfect record from a band who have always pushed themselves to operate outside genre trappings, and it has come at a time where we need outsider art more than ever. Do not sleep on this incredible band. [Liam Knowles]
Read our full review of ‘Dreams of Being Dust’
15. Dinosaur Pile Up – ‘I’ve Felt Better’
While the title of the album reflects the personal struggles of singer Matt Bigland, âIâve Felt Betterâ sizzles as the Leeds trio return with probably their biggest album yet. Down-tuned riffs balance the personal heartache of the lyric subject matter with an overwhelming urge to jump into the nearest mosh pit. While all the prerelease songs were well chosen as they all showcase the various facets of DPU, this writers personal favourite is the endgame song ‘Sunflower’, which truly shows the bandâs dynamic. Go for a drive; stick this album on loud and bang your head. [Glen Bollard]
Read our full review of ‘I’ve Felt Better’
14. Scowl – ‘Are We All Angels’
From the moment it opens, âAre We All Angelsâ lays out its intentions and ambitions. This is post-hardcore in its truest sense, a band with honed hardcore instincts pushing themselves into new territory. Scowl achieve this with pizzazz, vocalist Kat Moss switching up harsh screams for soft, viscous singing. The guitars pulse with energy, varying between riffs and poppier chord structures, as Moss flows like honey through them.
Amid soaring singalong choruses, a particular standout here is ‘Special’, which embodies the energy and ethos of ‘Are We All Angels’. Balancing chugging, dissonant guitars filled with dirty harmonics with melodic vocals, ‘Special’ marries Scowl’s familiar harshness with a newfound tenderness. It’s catchy and dark in the same breath â a perfect way to open an album that is filled with hooks and riffs and choruses that linger for days. [Will Bright]
Read our full review of ‘Are We All Angels ‘
13. Spiritbox – âTsunami Seaâ
Given the title of their new record, itâs fitting that Spirtbox should make waves as they crash into this list. As one of natureâs most devastating events, itâs turbulent, unpredictable, stirs everything up and is absolutely crushing; A tsunami is too.
Since 2016, Spiritbox have maintained a sense of momentum, consistently releasing music and always evolving. Here they take another step forward. Courtney LaPlante again proves sheâs amongst the best vocalists in metal, but itâs not a one woman show, lead songwriter Mike Stringerâs restless creativity means every song is a careful blend of disparate elements; harsh screams, discordant notes, massive djent riffs and even pulsing electronics, are channeled into their strongest work to date.
Contrast is everything. Beautiful choruses on songs like âKeep Sweetâ or âPerfect Soulâ tug on your heart strings while the scratching and screeching of âSoft Spineâ are thrillingly violent. The electronic experiments of âCrystal Roseâ oppose the glitching ticking time bomb of âNo Loss, No Loveâ. Each offers a deliberate change of style, drawing on every sound in their toolbox to paint a clear, ruthlessly effective picture.
Basically, we were expecting âTsunami Seaâ to be good, but no one was prepared for just how good. Neither following previous workâs template, nor entirely reinventing themselves itâs a clear evolution, offering streamlined songs with a compulsive sense of momentum no matter how the ideas are expressed. Spiritbox are making massive waves with âTsunami Seaâ, theyâre a gift that keeps on giving. [Ian Kenworthy]
Read our full review of ‘Tsunami Sea’
Read our live review of Spiritbox at Download Festival
12. Deftones – ‘Private Music’
Deftones return in 2025 with their 10th studio album, and it does exactly what it says on the tin. Everything you would expect from the band is on show in another solid effort that slots in alongside their back catalogue. With their massive, heavy riffs, pounding drums and bass, and Chinos Moreno’s menacing vocal, itâs classic Deftones. To be in 2025 and still have this band around, and delivering as well as they ever did is insane. Tunes like ‘Locked Club’ and the massive single ‘My Mind Is A Mountain’ could easily fit on their debut 30 years ago. They arenât reinventing the wheel but when you do it as well as Deftones consistently have, you donât need to! [Glen Bollard]
Read our live review of Deftones at Crystal Palace Park
11. Biffy Clyro – ‘Futique’
Biffy Clyro describe âFutiqueâ as being, âA word for those beautiful, sad and fleeting moments that only become significant in hindsightâ. Itâs a notion that rings true for listeners as their core fanbase progresses well into their 30s, having grown up alongside the band, where years seem to pass more quickly and short moments hold more weight than ever before. The album âFutiqueâ captures this feeling well, as each track seems to be borne out of a single moment or feeling – sometimes seemingly mundane or insignificant yet often so much more poignant once you give it a second to land. This concept comes through sonically, too, as what initially feels like a heavily pop driven album has layers for you to peel back, finding complexity in the songwriting that triggers equally complex emotions in the listener.
As Biffy continue to confidently headline festivals, this anthemic collection lends itself perfectly to who they are and what they have achieved in 2025, while still pulling from the best bits of their extensive back catalogue. Hopeful yet realistic, itâs the perfect escape and a clear example of how Biffy are still one of the best in the game. [Yasmin Brown]
10. Deafheaven – âLonely People With Powerâ
Deafheaven have earned themselves a reputation as one of the most captivating bands in blackgaze. âLonely People With Powerâ stakes the biggest claim for that title of the bands career. Where previous record âInfinite Graniteâ saw their shoegaze intricacies at an all time high, the new album strikes more of a balance with their black metal heft, evolving the band into their most powerful form. A blood-curdling malevolence creeps through the record like a vine, but never overpowers the grace and beauty radiating from its core. Tracks like the relentless âDobermanâ and âRevelatorâ are wall-to-wall bruisers designed to destroy everything in their path, where tracks like the stunning âHeathenâ and âThe Marvelous Orange Treeâ represent the exact opposite, and itâs that juxtapositional dance that make this such a special listen. A masterful display from one of this generations finest bands. [Dave Stewart]
Read our full review of ‘Lonely People With Power’
9. Hot Mulligan – ‘The Sound a Body Makes When Itâs Still’
Michigan’s Hot Mulligan have perfected the art of wrapping genuine heartbreak in the most absurd packaging imaginable, and their fourth album proves they can balance chaos and sincerity without losing either. From the moment ‘Moving to Bed Bug Island’ drifts in before ‘And a Big Load’ crashes through your speakers, it’s clear this is a band operating at peak form.
What really makes this record shine is how fearlessly they pair ridiculous song titles with genuinely affecting moments. ‘Monica Lewinskibidi’ shouldn’t work on paper â a track dealing with grief named after a meme â but Hot Mulligan pull it off because they understand that humour and heartbreak aren’t opposites. Standout ‘It Smells Like Fudge Axe In Here’ exemplifies their ability to marry the absurd with the profound, while ‘Slumdog Scungillionaire’ mashes up the album’s themes into a shifting soft-to-loud masterpiece. By the time closer ‘My Dad Told Me To Write A Nice One For Nana So Here It Is’ rolls around, you’re grinning and crying simultaneously. This is a band that’s grown up without growing stale, delivering an album that’s as smart as it is stupid, as tender as it is thunderous. [Kathryn Edwards]
Read our full review of ‘The Sound a Body Makes When Itâs Stillâ
Read our live review of Hot Mulligan at Slam Dunk
8. Hayley Williams – ‘Ego Death At A Bachelorette Party’
Hayley Williamsâ first foray into music outside of Paramore, âPetals For Armorâ, was special. Far more pop driven and experimental in its delivery, it showed a side to her artistry that didnât really fit with the band and allowed her to spread her wings a little wider. Her new album âEgo Death At A Bachelorette Partyâ feels like a blend of both worlds, melding the electricity of Paramoreâs more recent work with the broader palette of her solo material. Add in the fierce passion and unwavering honesty thatâs always been so core to Williamsâ output and youâve got yourself one hell of an album. Ranging from the rose-tinted âLove Me Differentâ to the moody âGlumâ, the wonderfully honest title track all the way to the powerful âTrue Believerâ, with its nod to the racial injustice in the American South, itâs been beautifully designed to comfort, gut-wrench, educate and challenge in all the right places. Itâs a chefâs kiss in Williamsâ discography; a majestic, textured, thought-provoking journey through the mind of one of alternative musicâs most brilliant creatives. [Dave Stewart]
7. Nova Twins – âParasites and Butterfliesâ
All hail Nova Twins, conquering queens of innovative, brave slammers! Weâve got bass bounce on âPiranhaâ, introspective pop with âMonstersâ, song that pay tribute to their hip-hop teenage loves like âN.O.V.Aâ, and then thereâs âHummingbirdâ, an aching song of grief and recovery that brings a tear to the eye. Theyâve looked inside themselves to find inspiration for an exceptional third album thatâs winning over fans and showing exactly what these superstars are capable of. âParasites and Butterfliesâ drops solid bangers with a side order of pride in yourself, which is just what 2025 needs. [Kate Allvey]
Read our full review of âParasites and Butterfliesâ
Read our live review of Nova Twins at O2 Forum Kentish Town
6. Sleep Token – ‘Even in Arcadia’
It’s no mistake that âEven in Arcadiaâ is so highly regarded and received. Once again,
Read our full review of âEven In Arcadiaâ
Read our live review of Sleep Token at Download Festival
5. Ghost – âSkeletaâ
More bombastic then ever, Ghostâs return after three years away from the studio saw everyoneâs favourite blasphemers blast through 2025 with a string of infinitely catchy singles. âPeacefieldâ slams from a quasi-historical lament through to eighties overdrive, and âSatanizedâ sees the newly beautified Papa Perpetua rejoicing at the loss of his soul. Weâre here for the drama but weâre staying for the resolute metaphysical breakup that is âLachrymaâ. Whether youâre in the fandom or find it all a bit silly, youâve got to admire how Ghost have dominated this yearâs heavy landscape with retro rituals and metal iconography. [Kate Allvey]
Read our full review of âSkeleta’
Read our live review of Ghost at the O2 Arena
4. Viagra Boys – ‘viagr aboys’
Viagra Boys refuse to be pinned down, and ‘viagr aboys’ might be their most unpredictable release yet. Opening with the swaggering, earwormy ‘Man Made Of Meat’, the album quickly establishes its commitment to the bit, equal parts genius and batshit insane. Standout ‘The Bog Body’ showcases the crunchiest bass tone of all time, courtesy of Henrik Höckert, alongside brass and synth layers, describing a partnerâs absurd and nonsensical jealousy towards a dead body uncovered in an ancient bog (apparently a true story). One thing that makes this album so compelling is its willingness to embrace extremes. Sebastian Murphy’s spoken-word delivery lampooning conspiracy theorists on ‘Pyramid Of Health’ sits alongside surprisingly tender moments like ‘Medicine For Horses’, revealing genuine vulnerability. Then there’s closer ‘River King’, a full piano ballad where Murphy’s falsetto creates something genuinely romantic. The production is more refined without losing any grit, and there’s a depth here that rewards multiple listens. ‘viagr aboys’ feels like a band confident enough to try anything, from industrial-tinged chaos to delicate balladry. It’s their most layered and rewarding album to date. [Kathryn Edwards]
Read our full review of âviagr aboys’
3. The Callous Daoboys – âI Donât Want To See You In Heavenâ
If you’re yet to hear the chaos of The Callous Daoboys, youâre in for a treat; and their third album, âI Donât Want To See You In Heavenâ, is the most thematically complete record of their discography thus far, finding frontman Carson Pace looking inwardly while reflecting on his mid-twenties – love and subsequent loss, battling sobriety, frustration and expectation; all delivered via a journey through a fictional, futuristic museum – aptly named The Museum Of Failure. At times, Daoboys may sound like silly sods (and their name is proof of that), but they wear their playfulness like a badge of honour. Theyâre exceptionally talented musicians too, able to bounce between different sounds with ease, using other genres to enhance their own; be it jazz, synthwave, or a multitude of other references. âTears On Lambo Leatherâ features thick metal, an EDM bridge with calypso style drums, and industrial-styled chaos across the close. Meanwhile, âLemonâ, is a song that could be described as Daoboys at their most inviting, teaming acoustic guitars with bubbly synths, sliding basslines and a genuinely traditional riff.
And that bouncing between styles isnât just between tracks, itâs containable in single songs too. âTwo-Headed Troutâ opens with a sample of La Cautionâs ‘ThĂ© Ă La Menthe”, which contrasts the softer verses, singalong choruses and an explosive close thatâll blow the cobwebs away like Winnie The Poohâs Blustery Day. What results is an album that challenges the listener, both lyrically and sonically, sucking them in with softer and more approachable tracks before repeatedly slamming their head into the floor moments later. Itâs visceral, itâs chaotic, itâs absolutely batshit insane in the best of ways.
âWelcome To The Museum Of Failure. What you are about to witness is meant to challenge, provoke and above all remind us of the weight of our collective actions and inaction.â [Andy Joice]
2. Architects – ‘The Sky, The Earth & All Between’
Architects are now at the stage where we expect them to come out swinging. Good news – they do. This album is hot to the listen, with a sense of hope burning through all that noise. Whoâd have thought that itâd be light here that prevails? Heavy like they have a point to prove, and quiet with no intention of being safe, itâs pure whiplash (in a good way). Theyâll have you sitting up straight on more than one occasion as they prove themselves masters of vicious symphonies. That being said, theyâre still exploring sonically but have the experience to stick the landing. Itâs with flourish and scale that âThe Sky, The Earth & All Betweenâ lingers. If youâre looking for more, youâll find it here. [Jess McCarrick]
Read our full review of âThe Sky, The Earth & All Between’
Read our live review of Architects at the O2 Arena
1. turnstile – ‘Never Enough’
With hardcore bands soundtracking Taco Bell adverts, performing on late-night US talk shows and getting regularly booked at Coachella in recent years, itâs hard not to look back at Turnstileâs 2021 record âGlow Onâ as a glass ceiling shattering moment for the genre. The Baltimore groupâs third album challenged the preconceived notions of the heights a band from that scene could reach commercially, as they explored a wide range of soundscapes whilst staying true to their roots. Its success and acclaim brought with it multiple Grammy nominations, support slots in arenas and put them in the spotlight of the mainstream rock world. To say the expectations were high for album number four is an understatement.
The end result of that hype and anticipation is âNever Enoughâ, which takes the ball handed to it by its predecessor and runs with it in spectacular fashion. Everything about the album feels more grandiose, as the experimentation and leap of faiths that may have initially felt alien four years ago not only come more naturally, but are bolder, more innovative and as a collective work of art, resemble the fully formed version of the bandâs vision â with vocalist Brendan Yates taking the lead on production duties.
As a unit, Turnstile are an unmatched machine with all the cogs meshing together in harmony, and each member gets their moment to shine. Guitarists Pat McCrory and the bandâs newest member, Meg Mills, shred faces with their riffing on âDullâ and âBirdsâ whilst laying down succulent solos on âLight Designâ and âTime Is Happeningâ; the rhythm section of bassist Franz Lyons and Daniel Fang on drums flex their dexterity on the infectious âI Careâ and disco funk infused âSeeinâ Starsâ; alongside his powerhouse vocals throughout, Yatesâ synth lines glisten across the record.
While continuing to look beyond the world of alternative music for their creativity and collaborators â including BadBadNotGoodâs mariachi jazz flair on âDreamingâ, a blissful flute outro from Shabaka Hutchings on âSunflowerâ and the transition of mosh-ready riffs into steel drums and thumping Baltimore club beats on the near-seven minute âLook Out For Meâ – what keeps everything quintessentially Turnstile is that whatever left turn they take, it remains authentically them. The sugary sweet guitar tone of âI Careâ brings jangly indie and dream pop to the fore, but its rhythmic beats and melody still make you want to two-step and mosh to your hearts content.
The shimmering synths that open the album ease you into a sonically familiar world from that of âGlow Onâ, but the 45 minutes that follow reach higher levels of breadth and scale. The distinct personality of the songs allows each to breathe in their own right, however what pulls everything together into one of the yearâs most engrossing listening experiences is how the sequencing bridges the disparate emotions and soundscapes into a truly cinematic experience, flowing from one song to the next in perfect harmony. Itâs no coincidence that as part of the bandâs vision for the record, they released a companion film that allows you to be swept into their world where, as Yates put it in an interview with The Independent, âmusic is the main character and the visuals are a result of thatâ.
From the DIY local scenes to major festivals, modern hardcore is in a healthy place in 2025 that has allowed the best bands to think bigger and bolder in the evolution of their sound.
While there are many success stories that rightfully deserve shouting from the rooftops â from Scowl, Militarie Gun and High Vis finding their own alternative sounds in the rock world, to Malevolence and Knocked Loose crushing things on the heavier end of the spectrum – âNever Enoughâ is a reminder of just how far ahead of the curve Turnstile are of their peers. While itâs not a competition, if it were, it wouldnât be anywhere near close.
Charli XCX declared at Coachella that we would have a âTurnstile Summerâ, but in all honesty, she didnât go far enough. Itâs been Turnstileâs year since the moment they first teased their return on a Los Angeles billboard eight months ago, and âNever Enoughâ is not only a bonafide modern classic and definitive statement of their creative vision and ambition, but a testament to the old adage that the sky truly is the limit. [Brad Stratton]