Album of the year
From the organ synths and echo-laden vocals that kick off the titular opening track’, it’s clear that Never Enough is going to be another record to annoy the hardcore purists and gatekeepers. The song could almost be a woozy slice of radio-friendly pop. Then the guitars kick in after about a minute, accompanied by thumping drums that sound a little like they’re aping Def Leppard. It establishes the blueprint for the record: songs that play with the tropes of hardcore punk, like a teenager trying out a new identity for themselves, without ever fully committing. Instead, they skirt around the edges of the genre, marrying it to a range of softer musical stylings. It’s a format that in the hands of another band could be jarring, shallow or repetitive. Somehow, Turnstile eke fourteen songs out of the formula without it becoming stale. Even on songs like ‘Sole’ and ‘Dreaming’ that seem to offer more straightforwardly bludgeoning uptempo hardcore, little details (like mariachi horns or shoegazey vocals) appear to wrongfoot the listener. At the same time, it’s a deceptively simple record, basic riffs and repeated melodies forming the backbones of most of the songs. The band’s skill as songwriters is combining their genre openness with this simplicity, leaving plenty of space for the songs to breathe. The lyrics are highly introspective, singer Brendan Yates delving deep in his reflections on the challenges of making your way through life and ways of making this possible. The space allows these reflections to take centre stage, giving the record emotional heft and inviting the listener to join in the catharsis. Rather than being didactic, the record skilfully creates a sense of community, and this is perhaps its greatest strength. Even if you think hardcore isn’t for you, give this a whirl. You might just find yourself a convert.
Best Gigs of 2025
Knowing that I was going to be leaving London in the summer and my access to gigs was going to become trickier, I made a point of catching as much music as possible. Three in particular stood out. Continuing the hardcore theme, I saw Touche Amore at the Electric Ballroom. It was the final night of their UK tour but rather than being tired and jaded, they demonstrated why they are at the top of their game. Like Turnstile, they twist hardcore into more melodic, anthemic shapes, without surrendering their heaviness. They laid waste to the venue on a chilly midweek evening in February. The second gig was Fabio and Grooverider performing with an orchestra at the Albert Hall. I’ve been to concerts at the venue before but I’ve never previously seen pints being hurled in the air and people smoking inside! Having been worried about whether it would feel like a novelty act, I was pleased to have my fears allayed. It was two hours of drum and bass classics, with the orchestra providing extra range to the songs rather than distracting from them. I can’t remember the last time I danced like a loon with a smile on my face for so long. The final gig was Iron Maiden’s ‘Run For Your Lives’ tour at the London Stadium. It was my first stadium gig and didn’t disappoint. With a setlist culled from their classic years, the band played paradoxically like they had been together for years and like they were several decades younger than they are. It was a proper show, with all of the ‘just the right side of naff’ theatrics you’d expect from a venerable heavy metal band and the crowd singing back every word with gusto. It was also the most mult-generational and diverse crowd I can remember experiencing – testament to the band’s wide appeal.
Album I am looking forward to in 2025
It’s got to be the new Twilight Sad record. They’ve long been one of my favourite bands, conjuring up a sound that is both gloomy and euphoric. The two tracks that I have heard from the new record, Designed to Lose, suggest that it is going to be another classic.
Best New Discovery of 2025
Clipping’s Dead Channel Sky was a close contender for my favourite record of the year and clipping. were definitely my favourite new discovery. I assume the title is a reference to the opening line of William Gibson’s Neuromancer, which fits the dystopian industrial hip hop sound that is their trademark. Razor sharp delivery flows effortlessly over throbbing, glitchy industrial beats, creating a fully realised and immersive cyberpunk world that draws the listener in completely. I was gutted to miss their London gig in September due to the move.
Picky Bastards 