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Turnstile’s Brendan Yates on what the hardcore band’s new album might be about

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Over the past 15 years as the frontman for Turnstile, Brendan Yates has learned numerous things. One important lesson he’s discovered is that an aspiring musician doesn’t necessarily have to relocate to Los Angeles or New York to achieve success.

Yates claims that they’ve managed to solve everything living in Baltimore, and Turnstile’s achievements seem to support this view. In 2021, the band, who climbed up the East Coast hardcore scene throughout the 2010s, received three Grammy nominations for their hit album “Glow On.” This album features energetic yet luxurious punk tracks infused with hints of funk, dream-pop, and electronic dance music. The following year, Turnstile supported My Chemical Romance on tour in arenas, and later did the same for Blink-182. At Coachella festival in April, Charli XCX closed her main-stage performance with a message predicting a “Turnstile Summer.”

Despite this, the esteemed five-piece band from Charm City – Yates on vocals, accompanied by guitarists Pat McCrory and Meg Mills, bassist Franz Lyons, and drummer Daniel Fang – indeed ventured to L.A. to record their upcoming album, “Never Enough.” They established a studio within a rented mansion in Laurel Canyon, where they resided for over a month during the recording process.

Television

The director had long coveted a Flea bobblehead, inspiring him to produce a music video for ‘Can’t Stop.’ In this video, the band appeared as string marionettes in the fourth volume of Netflix’s ‘Love, Death & Robots.’

Yates, the album’s producer, describes the desired ambiance as one of seclusion yet intimacy, which Laurel Canyon provided with its hidden charm. He expresses it as having an incredible atmosphere. The produced album, titled “Glow On,” continues to embody the spirit of adventure with R&B rhythms, featuring Hayley Williams from Paramore and Dev Hynes from Blood Orange, along with a flute solo by the renowned British jazz artist Shabaka Hutchings. The track “Never Enough” debuts with a short film that recently premiered at the Tribeca Film Festival, set to screen in selected cinemas this weekend.

35-year-old Yates recently chatted about the album over coffee in Silver Lake, just a few days following Turnstile’s energetic performance at L.A.’s Ukrainian Culture Center, where the crowd kept diving onto the stage continuously.

Who did the cooking while you were recording in the house?

Instead of preparing meals ourselves, we invited a few friends over to cook, and we always ensured our refrigerator was filled. Pondering about what to eat could consume a significant portion of each day.

What’s the advantage of making a record the way you did?

Instead of being bound by everyday routines, you can momentarily escape and immerse yourself wholly in music. The thoughts of errands like going to the grocery store become secondary as you wake up, enjoy your quiet morning routine, and step straight into the living room – where for extended periods, leaving the house isn’t necessary.

Recently, an article in The New York Times described you as the “hardworking leader” of Turnstile. Is this an accurate portrayal?

I don’t necessarily agree with your description, but I get where you’re coming from. I’m part of a band made up of friends I’ve known since childhood, and we’re all deeply invested in our music. It doesn’t feel like labor; it feels more like a labor of love. When I was growing up, I tended to categorize music as my passion and everyday life as something I didn’t enjoy, such as school. Even when I went to college, I thought I wouldn’t be doing music.

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You wanted to protect music from the strictures of school.

To be honest, I found myself enrolled in majors that didn’t ignite my passion. Initially, I pursued Kinesiology, but soon realized my skills were better suited elsewhere, as science and math weren’t my forte. Then, I dabbled in Criminal Justice, only to question my decision again. In retrospect, it seems like I was subconsciously searching for a major that would allow me the most mental freedom, enabling me to focus more on music.

Did you graduate?

Instead of staying late, I chose to depart earlier since I found little appeal and wasn’t excelling, and then an offer came my way to join a band on tour where I play the drums. Later down the line, I pursued a communications degree from an online institution.

Why?

I find myself pondering the same question repeatedly. Initially, I set out to complete something and had the determination to see it through. Without the convenience of remote learning, I likely wouldn’t have participated. Instead, I never returned to a physical classroom; instead, I was in the back of the van, penning essays.

Does 35 feel old in hardcore years?

As a 16-year-old, it would have seemed archaic to me. I never would have imagined at age 35 that I’d still be engaged in activities that excited me during high school. However, I find myself questioning the concept of aging. At age 12, I was certain that I would be married by 18 and a parent by 19. But now, I realize that age is more of a perception than a concrete reality.

Isn’t it more apparent nowadays that certain aspects of growing older, such as physical robustness, have become less mysterious? How does this compare to ten years ago?

10 years back, I used to perform in concerts with a pair of knee braces. Back then, I found myself thinking, “This is the reality – from now on, this is how my knees will function.

You’re saying in fact you’re sturdier now.

It became clear to me – you see, I’m not a vocalist. In the early stages of performing live shows, I would often toss the microphone aside and dive into the audience, primarily due to my nervousness and the rush of adrenaline.

Feels important to say that you’re definitely a singer.

I may occasionally croon tunes, yet I wouldn’t label myself as a professional singer since I’ve never taken vocal lessons. Interestingly enough, when our band was formed, people suggested that I stick to drums while creating another group for me to front and learn guitar. They even proposed I play the bass, despite my lack of experience in doing so. Fast forward a decade, and here we are – it turns out this secondary project has become the one we’ve invested a significant amount of effort into.

Have you, a supporter of Turnstile, ever faced criticism claiming you’re damaging the hardcore genre? Has any comment struck a nerve with you?

I have no interest in having any dialogue about anyone’s opinion about anything that I’m doing.

I appreciate the definitiveness of that.

It just doesn’t matter.

Who has your praise held significant value? Notably, there’s a highly popular TikTok video showcasing James Hetfield and Rob Halford appreciating your performance at some music festival.

Experiencing moments like that has been incredibly surreal for us – it’s as if we’re asking ourselves, “Is this really happening?” The thrill of encountering idols from your childhood is undeniably massive. However, what truly sets it apart is the connections you form and the times when those people become your studio companions – folks like Dev or our cherished friend Mary Jane Dunphe. It becomes clear: These are the individuals I admire most, crafting music that resonates with me at this very moment.

As a film enthusiast, I’m curious: In this album, is there a moment that you feel showcases a creative leap or an artistic gamble taken by the artist?

In the opening track “Never Enough,” after the band fades out, there’s about two minutes of a repeated synth chord that I found myself questioning: “Is this too prolonged? Could we make it briefer?” However, upon further reflection, I believe these extended moments serve a purpose in this album. They invite listeners to immerse themselves in the tumultuous instances and then find tranquility in the silent ones, creating a unique back-and-forth dynamic. These pauses of silence seem deeply tied to the film, revealing how they complement each other and why they are essential components of the narrative. Ideally, one’s first encounter with the album would be while watching the accompanying film.

Someone says to you, “I didn’t really get the album until I saw the film” — that’s OK by you?

I would love that.

Music

As a fervent fan, I can’t help but delve into the intricate bond the celebrated British rocker shares with the media and his recent masterpiece, “People Watching.” Crafted in sunny Los Angeles alongside Adam Granduciel from The War on Drugs, this album is more than just music – it’s a captivating tale of personal journeys and public scrutiny.

Who opened the door to the idea that you could make a movie?

Previously, we released a mini-album titled “Turnstile Love Connection,” which included four songs and a video. I contacted my friend Ian Hurdle, who is the cinematographer, and shared with him an idea: We’d create this video that would encompass approximately 10 to 11 minutes and include these four songs. He listened to my plan and suggested, “It seems like you’re planning to direct it.” I responded, “I suppose you’re correct,” as I am not a director by trade.

You’ve now called yourself not a singer and not a director.

On paper, my resume might look inexperienced, but what I do have is an unbridled enthusiasm for taking on challenges and making things happen. That particular video served as a tremendous educational opportunity – it validated that the concept was indeed feasible.

Is there a consistent rainbow-like color scheme that appears in the music videos of the latest album? You’ve also been incorporating it as a visual element during your live performances. Could you share what significance or meaning this color pattern holds for you?

The album contains elements that might be associated with those colors. The album’s cover is a depiction of a double rainbow, which we encountered while performing in Paris about a year and a half ago. We were strolling around when it started raining simultaneously with the sun shining. We exclaimed, “Check this out” — and there was this stunning double rainbow. One of my friends captured the moment, and that image graces the cover of our album. It’s possible to view this event symbolically on a spiritual level, representing new beginnings, transformation, or access to another dimension.

The album cover is very subtle. You could easily look at it and just see blue.

The cover I received feels incredibly subtle. However, this is precisely what I desired: not an explosion of vibrant colors, but a sense of emptiness. Almost as if the music was a tiny speck in the grand scheme of the universe. In the movie, there’s a lot of symbolism related to water and the immense expanse of the ocean, which also reflects this feeling. The blue tones further emphasize this theme.

Very Malibu of you.

By the way, let me share an anecdote: Over a decade ago, I nearly drowned in the ocean. I was lucky enough to be rescued by some locals on a popular surfing beach in Hawaii. This incident doesn’t directly relate to the album’s theme, but it has always intrigued me – the ocean’s immense power and how insignificant I felt as I was losing consciousness. In that moment, I truly passed out, even saw a white light, and this experience gave me a unique perspective on life.

Here’s another suggestion: You haven’t quite completed something that you’ve been approaching subtly – a heartfelt ballad in its entirety.

The closing track from the latest album, titled “Magic Man,” is simply my voice and a Juno synthesizer in my personal space. It’s somewhat awkward, yet at the same time, it seemed essential. I had to vocalize that song.

Is your choice not to drink related to your upbringing or perhaps tied to a strict or substance-free lifestyle philosophy?

Could it be rephrased as: Perhaps childhood experiences can shape your path differently? For me, discovering hardcore and the straight-edge lifestyle gave me a sense of self-acceptance, as abstaining from alcohol felt more natural. However, I’d like to emphasize that this isn’t about stubbornness or adherence to an arbitrary rule; rather, it’s about finding what feels right for me in life.

If you were starting the band now, would you still put your website at turnstilehardcore.com?

It seems that at one point, turnstile.com was already taken. That era, with bands using their name followed by “HC” on MySpace or Twitter, feels nostalgic doesn’t it? It really marked the time. But yes, for all of us, hardcore music was our upbringing. It was like a conduit that led us to discover ourselves through a music scene, culture, and community.

Turnstile has no intention of composing a country tune or performing on a cruise ship.

We’ve tackled numerous tasks that pushed us beyond our usual limits. We even performed at some large-scale shows, which turned out to be a fascinating educational journey – learning how to engage someone far away, seated in a chair, as opposed to a child performing alongside you. The show we did in L.A. recently was particularly special for us, as the stage was low and created an intimate atmosphere. However, it was disappointing that many of our close friends couldn’t attend.

You could see the show as Turnstile keeping it real or as Turnstile indulging itself.

In a way, it made us inaccessible.

I look forward to the Turnstile Cruise in 2028.

Has it been proposed? It’s always left me puzzled. My initial query is: What kind of experience does the show convey? Is it predominantly about individuals embarking on a boat for day-drinking and seasickness, with us providing entertainment, or can you devise a way to transform it into something substantive? Frankly, I’m not ruling it out. However, I must confess that I’ve never set sail on a cruise ship before.

You’ve accurately sussed the vibe.

I’ve seen the pictures.

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2025-06-06 13:32

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