Turnstile love a good riff drop. It’s the fuel for stage divers to soar over a crowd, for pogoers to touch the grime of a dive bar’s ceiling, for teenagers to collide in a wall of death. Time and time again, Daniel Fang’s nimble beat is keeping steady and Brendan Yates’ synth or Franz Lyons’ bass floats above, but everyone’s hanging on the downward strum of a wide-stanced Pat McCrory and his guitar pick. By handing off the power of a beat drop to a heavy guitar riff, Turnstile double the weight of a song’s anticipated payoff.

And what could be more anticipated than Turnstile’s return following one of the decade’s best albums? Four years after releasing Glow On, the Baltimore experimental hardcore band sinks deeper into its stylistic hallmarks for album opener and title track “Never Enough.” Joined by new guitarist Meg Mills, formerly of Chubby and the Gang, Turnstile sound rigid and fluid at once, playing into blasted guitars and dreamy interludes that tempt escapism. The song’s musical highs and its sentiment of guarding yourself from detractors sound, for better or worse, familiar. But Yates learned plenty about the harm of expectations amid a landslide of rewards—Grammy nominations, arena tours, adulating press—and now, he’s more interested in letting it all melt away. Cue the track’s two-minute outro (if you can call a section that’s nearly half the song’s length an outro), where the band shifts to ambient drone, drifting piano notes, and trembling strings that masquerade as seagull calls. A drumbeat actively ramps up to conclude the most interesting stretch of the song, a preparation for what comes next on their new album. With that cutoff, “Never Enough” establishes itself as a transitory passage from one era of Turnstile to the next. If you’re caught in a similar time of life, it feels just right.