Published in Issue 22 Photos by Alexis Gross Interview by Rebecca Storm
While the tread has been wornoff the wheels of ingenuity with regard to think-pieces speculating on the cultural implications and creative fall-out of a collectively locked down society, it’s probably not coincidental that when millions were isolated in their homes, vestiges of punk reappeared in pop culture. In the early 00s, the malaise and post-9/11 reform basically set the stage for punk’s ingress onto, and brief sojourn in the mainstream, and in 2020, the same pulse repeated. Intersecting with this wobbly phenomenon, and by virtue of a merited and dedicated hardcore fan base, is Turnstile.
Formed in 2010 in Baltimore, Maryland, the current Turnstile members, Daniel Fang, Pat McCrory, Franz Lyons, and Brendan Yates are in their 8th year of playing together. On the heels of an impromptu second leg of tour, they somehow sound like the most apathetic optimists you’ll ever speak to. They are grounded, grateful, and committed to making sure everyone’s having a good time. This unfettered MO of moving forward with curiosity and fluidity is a palpable undercurrent to the music they create, so much as it is perceivable in their on-stage agility. There is a polarization in their music that’s deeply magnetic—a rawness that’s almost a prerequisite for what constitutes “good” hardcore music,synthesized with an inclusivity that practically defies the genre. Paired with the pandemic-meets- punk theory, it’s likely this spirit of experimentation that has garnered them an almost ravenous following, and functions as an example of what inclusive hardcore could look like. Turnstile has managed to maintain this precarious balance between mass market and niche, selling out shows in minutes, earning three Grammy nominations and creating music that reflects its lineage insofar as it is pioneering.
Rebecca Storm: Having started out in the more DIY/hardcore world, how are you feeling about being nominated for three Grammys?
Brendan Yates: I think we’re all really excited. Or haven’t really processed it. But being recognized in any capacity for doing what we’d be doing anyways is always a really cool thing. And this is at a very universal, large scale that we never imagined. So we’re very grateful for that opportunity.
RS: People love to talk about how you’re a band that avoids easy categorization. Do you feel pressured to define or explain what you do or what you’re about?
Pat McCrory: I think categories and genres and definitions and labels are always wanting to be placed on everything, but a big part of Turnstile is just what we do. I think that speaks for itself in a way that kind of leaves no limits, you can’t really place a boundary or a title around what we’re doing because we’re not going to put a boundary on anything.
RS: So those distinctions are not important. It’s more about the spirit of what you’re doing?
BY: I think people like those things because they’re used as guides to help them categorize. But I don’t think they serve as defining tools and like you said, yeah, the spirit of whoever’s making music, that’s what’s important. A lot of times things are kind of indescribable because everything is very unique to whoever is creating it. So I think that the organization and categorization should be acknowledged, but the things that are important and should be celebrated are the things that make every single person that’s making music so unique.
RS: What’s the biggest misconception about Turnstile?
PM: I’m curious. I don’t even know any misconceptions. I want to know some, to be honest.
Franz Lyons: I think we’re just so comfortable with staying true to ourselves that the attention to misconceptions is a little bit outside what we’re looking for. We’re really just concerned with what we’re doing and the experience. Whether it be a live concert or like in the studio, or even just kickin’ it, what feels good is what’s important, not necessarily what is assumed about us.
RS: Yeah, that’s a healthy attitude to have.
FL: I mean, I’m in a band with four people that are amazing, with this point-of-view that is beyond me, so it’s really easy to be comfortable being us.
RS: It seems like you’re selling out everywhere. Do you find that the speed at which you’re growing makes it harder for venues to accommodate you?
BY: I guess in a way, we booked a tour last spring, and all the tickets went really fast. And when that happens, people end up buying expensive resell tickets, which isn’t really that cool. So in one way it was amazing, such a rewarding feeling. But we also still haven’t been able to play to everyone that wanted the opportunity to see us. We’re able to do bigger venues and like a few nights in different places. And trying not to make it as exclusive as it felt when we did the first round so that everyone has an opportunity to come to a show.
RS: What has felt the most challenging about commercial success?
BY: I think it’s just the same challenges that come with playing music and dedicating your life to that. Like, I think because there’s maybe more people coming to shows, things are shifting a little bit. There are amazing opportunities, playing with bands that inspire us and seeing old friends, meeting new ones. But that sometimes means less time at home and things like that. And I think we just are trying to figure out how to balance everything and make sure everyone’s in touch with themselves and each other and feeling good.
RS: In an interview last year you said the best way to face the world is by being, “honest, fluid, and open to letting go.” I’m curious how you practice non-attachment.
BY: I think when it comes to making music, when it comes to being independent and traveling, it’s definitely important to be very fluid. I was kind of referring to a level of being very self-aware and open to change and open to new things. Because the more barriers you build around your ideologies, or the way you’re operating, or even what you enjoy doing, you’re kind of limiting yourself. I think when it comes to the band, it’s always trying to maintain an open mind and look for the beauty in things, even if it’s different than what you’ve been excited or inspired by in the past. So, with music and the kind of things that we’ve decided to do as a band, like touring, I’m making sure that it’s never like, choosing to make the most comfortable, obvious decision all the time. More so like, what’s inspiring us right now with an opportunity, or challenging in a way that’s exciting, or just different, because I think it’s important to constantly, be fluid and be open to new experiences and stuff, because in my eyes, how you progress and how you grow not only as a band, but as people and individuals.
RS: How are you feeling about your upcoming tour with Blink 182?
PM: It’s super exciting. And it’s a brand new experience that we haven’t had before. We’ve been fans of Blink 182 since we were very young. So it’s a full circle moment, and it’s going to be something new every day. Super, super excited.
RS: Do you worry that this would mean you won’t be able to play smaller venues again in the future?
BY: I think that’s a misconception sometimes, like “I’ll never see the band without a barrier again,” and stuff like that, and at least the way we look at it, it’s a very forward-moving journey. I think we acknowledge this is amazing. We’ve never played like arenas before. And so it’s such an interesting, unique experience for us. I think we will always try to put an emphasis on shifting back and forth so that nothing ever feels stagnant. Like tonight. Tonight, there’s no barrier, it’s the last show of the tour, it’s going to be a really intimate show. And, I think there’s always open room for different kinds of environments, as long as they feel good.
RS: Do you feel like the energy you’ve created through Turnstile is impacting circle-pit politics?
PM: I don’t think any of us can speak on the influence or impact of Turnstile, but just from our personal observation, it’s nice to see people being really kind to each other. It’s nice to see people very open to having a good time and wanting to express themselves. And that comes with the spatial awareness of a bunch of people being in a room together, getting their energy out, really respectful of each other.
RS: How do you like to slow down after a big tour like this, or even just recalibrate after you’ve been going too hard or fast for too long?
Daniel Fang: I think we all have our different ways of like, being at home, or being on tour, ways of shifting gear into a very different environment at home. I think we’re mostly private people who have to recharge the social battery, but also just take things at our own pace. I think that’s the single biggest difference, being at home—if you want to get into a creative mindset, or want to work on any personal projects, or goals, you can do that and you don’t have to adhere to how rigid and fixed the touring schedule is. So just being able to get in a flow state and kinda lose sense of time, and dive into something is really nice. I think that’s a big part of recharging and enjoying that shift in gear. And I think it opens everyone up to being really excited to get out on tour again whenever the next set of shows are.
A Conversation with Turnstile
Published in Issue 22
Photos by Alexis Gross
Interview by Rebecca Storm
While the tread has been worn off the wheels of ingenuity with regard to think-pieces speculating on the cultural implications and creative fall-out of a collectively locked down society, it’s probably not coincidental that when millions were isolated in their homes, vestiges of punk reappeared in pop culture. In the early 00s, the malaise and post-9/11 reform basically set the stage for punk’s ingress onto, and brief sojourn in the mainstream, and in 2020, the same pulse repeated. Intersecting with this wobbly phenomenon, and by virtue of a merited and dedicated hardcore fan base, is Turnstile.
Formed in 2010 in Baltimore, Maryland, the current Turnstile members, Daniel Fang, Pat McCrory, Franz Lyons, and Brendan Yates are in their 8th year of playing together. On the heels of an impromptu second leg of tour, they somehow sound like the most apathetic optimists you’ll ever speak to. They are grounded, grateful, and committed to making sure everyone’s having a good time. This unfettered MO of moving forward with curiosity and fluidity is a palpable undercurrent to the music they create, so much as it is perceivable in their on-stage agility. There is a polarization in their music that’s deeply magnetic—a rawness that’s almost a prerequisite for what constitutes “good” hardcore music, synthesized with an inclusivity that practically defies the genre. Paired with the pandemic-meets- punk theory, it’s likely this spirit of experimentation that has garnered them an almost ravenous following, and functions as an example of what inclusive hardcore could look like. Turnstile has managed to maintain this precarious balance between mass market and niche, selling out shows in minutes, earning three Grammy nominations and creating music that reflects its lineage insofar as it is pioneering.
Rebecca Storm: Having started out in the more DIY/hardcore world, how are you feeling about being nominated for three Grammys?
Brendan Yates: I think we’re all really excited. Or haven’t really processed it. But being recognized in any capacity for doing what we’d be doing anyways is always a really cool thing. And this is at a very universal, large scale that we never imagined. So we’re very grateful for that opportunity.
RS: People love to talk about how you’re a band that avoids easy categorization. Do you feel pressured to define or explain what you do or what you’re about?
Pat McCrory: I think categories and genres and definitions and labels are always wanting to be placed on everything, but a big part of Turnstile is just what we do. I think that speaks for itself in a way that kind of leaves no limits, you can’t really place a boundary or a title around what we’re doing because we’re not going to put a boundary on anything.
RS: So those distinctions are not important. It’s more about the spirit of what you’re doing?
BY: I think people like those things because they’re used as guides to help them categorize. But I don’t think they serve as defining tools and like you said, yeah, the spirit of whoever’s making music, that’s what’s important. A lot of times things are kind of indescribable because everything is very unique to whoever is creating it. So I think that the organization and categorization should be acknowledged, but the things that are important and should be celebrated are the things that make every single person that’s making music so unique.
RS: What’s the biggest misconception about Turnstile?
PM: I’m curious. I don’t even know any misconceptions. I want to know some, to be honest.
Franz Lyons: I think we’re just so comfortable with staying true to ourselves that the attention to misconceptions is a little bit outside what we’re looking for. We’re really just concerned with what we’re doing and the experience. Whether it be a live concert or like in the studio, or even just kickin’ it, what feels good is what’s important, not necessarily what is assumed about us.
RS: Yeah, that’s a healthy attitude to have.
FL: I mean, I’m in a band with four people that are amazing, with this point-of-view that is beyond me, so it’s really easy to be comfortable being us.
RS: It seems like you’re selling out everywhere. Do you find that the speed at which you’re growing makes it harder for venues to accommodate you?
BY: I guess in a way, we booked a tour last spring, and all the tickets went really fast. And when that happens, people end up buying expensive resell tickets, which isn’t really that cool. So in one way it was amazing, such a rewarding feeling. But we also still haven’t been able to play to everyone that wanted the opportunity to see us. We’re able to do bigger venues and like a few nights in different places. And trying not to make it as exclusive as it felt when we did the first round so that everyone has an opportunity to come to a show.
RS: What has felt the most challenging about commercial success?
BY: I think it’s just the same challenges that come with playing music and dedicating your life to that. Like, I think because there’s maybe more people coming to shows, things are shifting a little bit. There are amazing opportunities, playing with bands that inspire us and seeing old friends, meeting new ones. But that sometimes means less time at home and things like that. And I think we just are trying to figure out how to balance everything and make sure everyone’s in touch with themselves and each other and feeling good.
RS: In an interview last year you said the best way to face the world is by being, “honest, fluid, and open to letting go.” I’m curious how you practice non-attachment.
BY: I think when it comes to making music, when it comes to being independent and traveling, it’s definitely important to be very fluid. I was kind of referring to a level of being very self-aware and open to change and open to new things. Because the more barriers you build around your ideologies, or the way you’re operating, or even what you enjoy doing, you’re kind of limiting yourself. I think when it comes to the band, it’s always trying to maintain an open mind and look for the beauty in things, even if it’s different than what you’ve been excited or inspired by in the past. So, with music and the kind of things that we’ve decided to do as a band, like touring, I’m making sure that it’s never like, choosing to make the most comfortable, obvious decision all the time. More so like, what’s inspiring us right now with an opportunity, or challenging in a way that’s exciting, or just different, because I think it’s important to constantly, be fluid and be open to new experiences and stuff, because in my eyes, how you progress and how you grow not only as a band, but as people and individuals.
RS: How are you feeling about your upcoming tour with Blink 182?
PM: It’s super exciting. And it’s a brand new experience that we haven’t had before. We’ve been fans of Blink 182 since we were very young. So it’s a full circle moment, and it’s going to be something new every day. Super, super excited.
RS: Do you worry that this would mean you won’t be able to play smaller venues again in the future?
BY: I think that’s a misconception sometimes, like “I’ll never see the band without a barrier again,” and stuff like that, and at least the way we look at it, it’s a very forward-moving journey. I think we acknowledge this is amazing. We’ve never played like arenas before. And so it’s such an interesting, unique experience for us. I think we will always try to put an emphasis on shifting back and forth so that nothing ever feels stagnant. Like tonight. Tonight, there’s no barrier, it’s the last show of the tour, it’s going to be a really intimate show. And, I think there’s always open room for different kinds of environments, as long as they feel good.
RS: Do you feel like the energy you’ve created through Turnstile is impacting circle-pit politics?
PM: I don’t think any of us can speak on the influence or impact of Turnstile, but just from our personal observation, it’s nice to see people being really kind to each other. It’s nice to see people very open to having a good time and wanting to express themselves. And that comes with the spatial awareness of a bunch of people being in a room together, getting their energy out, really respectful of each other.
RS: How do you like to slow down after a big tour like this, or even just recalibrate after you’ve been going too hard or fast for too long?
Daniel Fang: I think we all have our different ways of like, being at home, or being on tour, ways of shifting gear into a very different environment at home. I think we’re mostly private people who have to recharge the social battery, but also just take things at our own pace. I think that’s the single biggest difference, being at home—if you want to get into a creative mindset, or want to work on any personal projects, or goals, you can do that and you don’t have to adhere to how rigid and fixed the touring schedule is. So just being able to get in a flow state and kinda lose sense of time, and dive into something is really nice. I think that’s a big part of recharging and enjoying that shift in gear. And I think it opens everyone up to being really excited to get out on tour again whenever the next set of shows are.