Endless, Nameless

Step 2) Upon grudgingly giving the album another chance discover that Junkenstein and Why You Lie are great Nine Inch Nails-esque screamers. Lob back into cd collection ashemedly.

Step 3) Come to the conclusion that Nurse Maximum is one of the best songs they've ever ever written! Place cautiously into cd collection.

Step 4) Start yelling Sounddog Babylon! at the top of your voice in the middle of the night, much to the annoyance of the street.

Step 5) Simply cannot get the groove to Anthem out of your head. BOOM boom boow boom boom bow boom boom bow.....BOOM

Step 6) Grab innocent bystanders, thrust the album into their hands and scream at them to love it until your taken away....

This album is a huge dirty distorted scream of rage with Ginger's trademark melodies buried in the mix. Don't be a closed minded fool...appriciate this slab of industrial/metal/pop and be enlightened grasshopper!

Ginger has been repeatedly asked about many issues around the subject of this album over the past few years. The tracks are rarely played live, yet he still proclaims that the album is his personal favourite. The album reached number 41 in the UK charts.

The opening track ‘Junkenstein’ blasts out from the start with its bitter distorted sound, setting you straight into the pace of the album. As the two minute long song plays on, the volume of the track slowly raises until you reach the standard volume of the whole album.

After the little opener, you are sent straight into the sing-along favourite that is ‘Nurse Maximum’. The track burns out a changing pace, with classic Ginger-style vocals delivering the verse, which is then sent roaring into the screaming chorus that brings together catchy riffage combined with a twisted industrial sound. A glorious song!

Next we have the killer track, Anthem, which sports the rough 'n' ready vocals of bassist Danny McCormack. His new 'lead singer' part is thrown in with a bass-heavy mix of distorted noise and crowd-exploding vocals that you know will be a crowd pleaser. The song delivers a heart-pumping mix of powerful riffs and head-spinning beats. The track was released as the first single to come from the album in August of 1997.

Now we have the second track to be released as a single from this album. ‘Urge’ is just one of those tracks that just seems to work so damn well. It blasts out some of the deepest bass I’ve ever heard, combined with wild distortion and unforgettable vocals. ‘Urge’ is a fantastic industrial rock anthem that grows on you with every listen.

‘P**sjoy’ follows, with its addictive melody and a chorus constructed out of kids chanting the track name over and over. The song brings with it a whisper of the Wildhearts as we knew them, with it’s unforgettable riffage and haunting melodies.

The bouncy little ditty ‘Soundog Babylon’, combines a ghostly verse, that sets a calmness to the track until the thumping chorus kicks in with its industrial distortion. As the track plays on, you are sent into almost an ‘art noise’ feedback fest until the track falls into an ambient bridge as it heads towards the final stages of this awesome little number.

‘Now Is The Colour’ begins with an addictive riff that plays through your head over and over again. Possibly the most industrial sounding track, this slow and repetitive song churns its twisted sound throughout with more weird noises thrown into the mix of distorted madness. The song winds to an end with the addition of some samples, creating this altogether bizarre experience of a track.

Track eight sees a cover of the Dogs D’Amour track ‘Heroine’ with a few minor lyrical alterations. This funky yet dark track is an awesome addition to the album with its chunky riffs and impossibly distorted bass.

Next is the track ‘Why You Lie’. From the start you are sent into the fast pace of the song with some classic-style Wildhearts riffage. Holding up the ‘Endless Nameless’ sound, we are blessed with a feast of speed and noise for a chorus which departs from the bizarre pace set down in the verses. The song shouts its anger at you with utter rage and aggression. Not a happy track.

Ending the album we are treated to the seven minute long song ‘Thunderf**k’. With almost a Devin Townsend feel to it, the song is one of those tracks that you can just sit back and absorb into yourself. It closes the album well, leaving you kind of shocked yet bizarrely fulfilled.

All in all, ‘Endless, Nameless’ formed a challenging and essential addition to the band's catalogue of releases. The album demands repetitive listens for it to slowly unfold its genius upon you. Definitely one to get your hands on.