Is this the same album anymore?

If Never Enough was Turnstile opening the doors to a much bigger musical world, Never Enough: Versions is what happens when they hand those songs to a bunch of completely different artists and let them run wild. Rather than feeling like a simple collection of remixes, Versions takes the DNA of Turnstile's latest album and stretches it into indie rock, electronic music, jazz, house, ambient, soul, experimental music, and even death metal. It's strange, unpredictable, and surprisingly cohesive, showing just how flexible these songs are when you strip them away from their original arrangements.

Never Enough: Porches Version is a perfect example of how dramatically these songs can change. The original had that expansive, emotional quality, but this version strips things down into soft electric and acoustic guitars, gentle vocals, layered harmonies, and huge synths sitting behind everything. There's almost a mid-2000s teen-comedy soundtrack quality to it, like something you would hear during a nostalgic closing scene. Then Birds: Slayyyter Version takes the energy in a completely different direction, slowly building through soft synths and washed-out vocals before exploding into glitchy EDM territory. It's chaotic, danceable, and genuinely fun.

That willingness to completely reshape the rhythm continues with Sole: Floating Points Version, which turns the song into a deep, hypnotic rave track. Bass, hi-hats, percussion, strings, and electronic textures gradually pile up before finally locking into a ridiculously catchy groove. It takes its time getting there, but that long build makes the payoff feel earned. Look Out for Me: Kettama Version goes even further into dance territory, bringing in fast drum-and-bass rhythms and bright synths while Brendan Yates' vocals float over the top. Some of the strongest versions are the ones that completely change the atmosphere while still leaving enough of the original song intact to recognize where they came from.

Light Design: Blood Orange Version becomes dreamy and almost heavenly, with soft drums, acoustic guitar, layered vocals, and flute creating an incredibly warm atmosphere. Light Design: Oklou Version pushes that dreaminess even further, using mournful piano and organ sounds alongside delicate vocals that almost feel like something from a fantasy-game soundtrack. These versions don't simply remix the songs; they reinterpret their emotional center. The melodies are still there, but suddenly they belong to a completely different musical environment.

Then things get weird. Dreaming: Dan Deacon Version sounds like Turnstile have been transported into an old-school digital world, with robotic vocals, distorted textures, strange synths, and an almost 8-bit quality toward the end. Dull: A. G. Cook Version takes things into glitchy, industrial dance territory, while Sunshower: Nourished by Time Version throws distorted bass, strange vocal effects, and sharp hi-hats into the mix. Not every electronic interpretation hits with the same force, but that's part of the fun. The album keeps changing direction before you can get too comfortable.

The heavier reinterpretations are where things get particularly ridiculous. Sunshower: Angel Du$T Version feels completely at home in their hands, retaining the tight riffs and frantic energy while giving the song a more punk-driven personality. The breakdown toward the end absolutely destroys. Then Birds: Dying Fetus Version comes along and basically turns Turnstile into a death-metal band. The riffs become crushing, the drums go into overdrive, and the filthy vocals give the song an entirely different personality. Somehow, the groove still works, which might be the funniest and most impressive part of the whole thing.

The softer versions are just as interesting. I Care: Faye Webster Version turns the song into a warm acoustic lounge piece with piano, bass, and soft female vocals, while Dull: Chanel Beads Version creates an eerie, distant atmosphere where Brendan's original vocals appear like a ghost drifting through the arrangement. Ceiling: Hayley Williams Version adds a soulful warmth that makes the extended arrangement feel much more fleshed out. These versions work because they don't feel like they're simply trying to make the songs prettier. They're finding different emotional qualities that were already hiding inside the originals.

There are also some wonderfully unexpected combinations. Seein' Stars: Elton John Version is an obvious standout, combining Brendan Yates' voice with Elton John's massive vocal presence, piano, synths, tight drums, and a grooving low end. It sounds completely different from the Turnstile version while still retaining enough of the original personality to make the connection obvious. Slowdive: Shabaka Version brings funky trumpet and saxophone into the mix, creating something deep, hypnotic, and almost lounge-like. Dreaming: Brandon Woody Version goes full vintage jazz club with horns and percussion, sounding like Turnstile accidentally wandered into a 1950s bar and decided to stay for the night.

Even the more understated versions have their place. Magic Man: Panda Bear Version gives the song a lighter and more whimsical feeling, while Magic Man: Alex G Version slows everything down with soft strings and keys that feel earthy and meditative. Never Enough: Rod Lee Version brings another dance-oriented interpretation, adding percussion and rap while Brendan's vocals drift in and out of the arrangement. By this point, the original Turnstile sound almost becomes a starting point rather than a destination.

That's probably the most interesting thing about Never Enough: Versions. The project makes you reconsider how much of Turnstile's identity comes from the actual songwriting and how much comes from the way the band normally presents those songs. Once you start changing the instrumentation, tempo, production, vocal treatment, and genre around them, the underlying melodies become much more obvious.

And the songs survive.

That's important because a remix album can easily become a collection of artists putting their own fingerprints all over someone else's material without actually improving or revealing anything. Here, even when a version doesn't completely work for me, there's usually some new detail worth hearing. A bassline gets pushed forward. A vocal melody becomes more emotional. A guitar riff suddenly sounds heavier. A synth changes the entire mood. A familiar chorus becomes something almost unrecognizable.

Not everything lands perfectly. A few of the electronic versions rely on fairly familiar dance-music formulas, and Look Out for Me: Four Tet Version doesn't have quite the same impact as some of the more adventurous interpretations. But those moments don't really hurt the overall experience because the release keeps moving into something completely different.

The variety is what makes it work.

You can go from Never Enough: Porches Version and its soft, nostalgic atmosphere to Birds: Dying Fetus Version turning the same basic material into death metal. You can move from I Care: Faye Webster Version into Sole: Floating Points Version, then jump into Seein' Stars: Elton John Version before ending up somewhere around vintage jazz, ambient music, or underground dance music. That's an absurd amount of territory for one collection of songs to cover.

And somehow, it still feels like Turnstile.

Not necessarily because every version sounds like Turnstile, but because the underlying songwriting keeps showing through. The melodies, rhythms, hooks, and emotional ideas are strong enough to survive being completely dismantled and rebuilt.

That's what makes Never Enough: Versions more interesting than a standard remix project. It's almost like hearing 22 different musicians answer the same question: what else could this song be?

Sometimes the answer is beautiful.

Sometimes it's strange.

Sometimes it's ridiculously heavy.

Sometimes it's dance music.

Sometimes it's jazz.

And occasionally, it's something that sounds like Turnstile got dropped into another universe entirely.

That unpredictability is exactly what makes the project enjoyable. Never Enough: Versions proves that these songs can exist far beyond the sound of their original album, and hearing different artists discover those possibilities makes the whole thing feel like one giant musical experiment.

It's not every version that completely blows me away, but there are enough surprises, genuinely great reinterpretations, and completely unexpected genre shifts to keep the release interesting from beginning to end.

Never Enough gave us Turnstile expanding their sound.

Never Enough: Versions shows just how far that sound can travel once somebody else gets their hands on it.

And honestly, that's one hell of a trip.