Turnstile Announces Star-Studded ‘NEVER ENOUGH: VERSIONS’ Album

Turnstile is set to release NEVER ENOUGH: VERSIONS, a collaboration-heavy reimagining of their double-Grammy-winning 2025 album NEVER ENOUGH, on Friday, August 28. The project promises to expand the sonic boundaries of the original record by inviting a diverse array of artists to reinterpret their tracks.

The reworked album features a sprawling list of collaborators that spans genres and generations, ranging from rock icon Elton John to the intense sounds of death metal band Dying Fetus. The project also highlights the band's affinity for pop and experimental textures, featuring contributions from Slayyyter—whose recent cover work has garnered significant attention—alongside Chanel Beads, Hayley Williams, Four Tet, A.G. Cook, Faye Webster, Alex G, and Oklou. The project is rounded out by Julien Baker, Baltimore club legend Rod Lee, and jazz innovators Shabaka and Brandon Woody.

NEVER ENOUGH originally arrived last June, quickly becoming the band's highest-charting effort to date. Its success was cemented by two Grammy wins: Best Rock Album and Best Metal Performance for the standout track "Birds."

This upcoming release arrives just ahead of the band’s 16-date North American Never Enough Tour Pt. 2, which is scheduled to kick off on September 9 in Milwaukee. As fans eagerly await the new interpretations, Never Enough: Versions is currently available for pre-save.

Why Camila Cabello’s ‘C,XOXO’ Deserves a Second Chance

I first heard C,XOXO, the 2024 album from Camila Cabello, four months before its official release. Tasked with writing her PAPER cover story, I had only three days to digest the project. I listened ravenously, feeling as confounded by its eclectic, digitized sonic choices as I was charmed by its raw earnestness. I predicted then that the world would eventually come to understand the record, though my initial assessment proved premature. It turns out that Camila Cabello was simply ahead of the curve.

The album was presented as a hard pivot, moving away from the radio-friendly polish of hits like “Havana” and “Señorita.” Instead, C,XOXO is rooted in the sounds of her Miami hometown, blending hip-hop, Miami bass, reggaeton, and urbano music. It is a dense, sample-heavy project that functions as a sonic collage, featuring nods to artists ranging from Ojerime to Pitbull. For listeners accustomed to her previous output, the shift was jarring, and the album’s commercial performance suffered as a result.

A Reconsideration of the ‘C,XOXO’ Sound

Two years later, the cultural tide has turned. The album has proven to have a remarkable staying power, remaining a fixture in pop discourse. From viral TikTok defenses to high-profile endorsements from figures like Charli XCX’s creative director Terrence O’Connor, the record is finally being viewed through a more appreciative lens. Even when Camila Cabello began working with Aaron Dessner, fans were quick to express concern that she might abandon the unique, experimental sound she cultivated on this project.

The current pop landscape is far more receptive to the kind of referential, collage-style music that C,XOXO pioneered. We see this in the success of artists like Adéla, whose recent work utilizes similar pitched-down samples and chant-like choruses, and Slayyyter, whose album WOR$T GIRL IN AMERICA embraces a similarly confident, genre-hopping approach. What was once dismissed as artistic insecurity is now recognized as a bold, creative confidence.

Embracing the Messiness of Pop

Perhaps the most significant shift is the industry’s newfound reverence for a certain “messiness” in pop music. While Brat dominated the conversation in 2024 with its polished, sturdy production, C,XOXO offers a different kind of appeal. It is charmingly awkward and far less self-aware, capturing the raw, stumbling reality of coming of age. Tracks like “Chanel No. 5” exemplify this, with its warped piano and Auto-Tune-heavy vocals that feel like a candid, free-flowing conversation.

If you haven’t yet given the album a fair chance, our current pop moment serves as the perfect impetus to revisit it. C,XOXO is a project that rewards the listener for their patience, offering a fresh, honest perspective that feels more relevant today than ever before.

41 Gorgeous Photos from Lollapalooza 2026

All eyes were on Chicago this past weekend as Lollapalooza 2026 took over Grant Park for four days. Despite this year’s genre-spanning lineup of K-pop, indie rock, EDM, and electronic music, it was, largely, a pop girl’s playing field. Major sets from Charli xcx, Lorde, Audrey Hobert, Tate McRae, and Slayyyter—perhaps the newly crowned MVP of the year with over 50,000 fans in attendance for her afternoon set which was moved to the main stage—generated the biggest headlines.

Those names were captured by FADER photographer Anson Tong, who was on the grounds to document the energy. Beyond the headliners, she caught candid moments from a stable of our favorites, including Frost Children, MUNA, Snow Strippers, and JENNIE. See all the cool stars she bumped into on the grounds of the Windy City below.

The festival proved once again to be a vital cultural touchstone, blending established icons with rising talent. From the high-octane performances of Tate McRae to the atmospheric presence of MUNA, the weekend was a masterclass in modern live music curation.

Slayyyter’s “brand new chanel$” is “girl who’s going to be okay”-pop

The first image I imagined when I heard Slayyyter’s “brand new chanel$” was the credits rolling in a film about her meteoric summer. This track serves as the literal inverse of her WOR$T GIRL IN AMERICA lead single, "BEAT UP CHANEL$," acting as part of a forthcoming sister project that reimagines and flips tracks from her major label breakout debut.

Whereas "BEAT UP CHANEL$" pairs a pounding, punk-ish verse with an electroclash chorus, its sister single is all lights and sparkles, at least sonically. Its lyrics are filled with melancholy as Slayyyter sings about being cheated on with straightforwardness and clarity: "Tell me why'd you ever bring her / In my home while I was so far away." Most notably, the music itself is pure millennial optimism: layers of washed-out synths, live drums, and stacked ethereal chants. There's an absolutely huge and haunting synth line in its chorus that feels almost Hans Zimmer-esque in its emotional severity.

The lyric's image of a lover taking advantage of Slayyyter's absence hits especially hard, given that this story, more or less, actually happened. In an interview with Owen Thiele, she discussed finding out about her partner's infidelity days before her massive Coachella performance.

But beyond the song's personal resonance in Slayyyter's own life, there's a bigger story lurking about the whiplash of fame more broadly. Slayyyter herself is suddenly busier than ever, with a sold out tour, a sister project in the making, and press galore. The overwhelm and isolation of such sudden and extreme fame, after a near-decade in the pop underground, is likely both thrilling and a surefire path to disassociation. The cheating of this song thus feels both literal and broadly emotionally pertinent — it's an example that proves the nagging sense that one's own small life is crumbling as the fireworks of pop stardom grow brighter.

That said, even as the song expresses real pain, it does feel ultimately deeply triumphant. Because even as the heart ache deepens, and the synths blare louder, Slayyyter lands on a line in the song that evokes the ethos of the famous "girl who's going to be okay" meme. She sings: "Know what you do / I see how you move / But I'm here standing still."

We don't know if she's devastated or furious or over it, or if she's simply everything in between. What's most important is the fact of her remaining. It feels like a sob after a stadium show, collapsing onto the bed with gratitude and overwhelm. It's going to be okay, but it's still a lot.