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3.6 out of 5 stars
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3.6 out of 5 stars
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on 16 May 2005
This record really did launch some arguments. It really divided fans. There they were; tons of Wildhearts fans, sitting and sucking up the bright, melodic, tunetastic offerings from the best rock and roll group this country has ever produced, perfectly contented to bask in the glory of The Wildhearts that they had known and loved since their amazing debut. And then..... and then came this. A dirty album of experimentation, absolutely drenched in white noise and messed up sonics. Lots of people ran screaming for cover, crying "Oh no! What has become of my beloved Wildhearts??!" And you can forgive such a reaction upon first hearing the album. BUT, give Endless, Nameless the chance it deserves, and you might just grow to love it. There are some corking tunes on this album!! Give it that chance, and you'll hear some classic Wildhearts riffs and songs, and yes, the melodies too. Same Wildhearts punch, same brilliant song writing, just with a twist. Spend some time with it, and you may just come around to the fact that this is one hell of a cool album. Ginger and co. did not desert you.
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on 9 October 2003
Step 1) Buy album. Jaw drop to floor and sobbing ensures after thinking that favourite pop rock band have released something so dirty and distorted. Throw into cd collection angrily.
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!
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on 12 July 2000
Quite simply, the Wildhearts were the most inventive rock band to spring from the 1990s.
And, quite simply, this is the best thing they did.
It's unique and abrasive. Lots of fans hated it.
It's an argument against complacent "dad-rock" that came to prominence with Oasis and Paul Weller.
Your parents would hate this.
Bask in it's freakishness.
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on 30 December 2000
I'm not given to awarding much 5 stars but this overlooked little disc qualifies. Why? Simply because it represents a genuine progression in the appreciation of guitar-based music. Yes, it is swamped with white-noise distortion, looped sample and simply VAST bass, but this is not Nine Inch Nails territory. It is still very obviously guitar music but, thanks to some distinctive production work, the band manage to produce the most horrendous, filthy noise and make it very, very listenable. It seems like a very poor oxymoron but it really works. Much was often made of the Wildhearts activities outside the recording studio, to the point that the Press eventually tired of them. Which is a shame as this could have cemented them as Britain's premier band. From their early punk-pop classics, through the psychedelia of PHUQ to this colossal challenge of a record the Wildhearts demonstrated an unrivalled aspiration to grow. In this sense I would argue they are the closest we have come to seeing a band like the Beatles in the last 20 years. This album IS difficult to get your head around, but the longevity of the songs makes the effort entirely worth while. An absolutely essential record.
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Released under the Mushroom Records label back in October 1997, the ‘Endless, Nameless’ album caused a huge stir amongst Wildhearts fans, due to its distorted sound and white noise mixing. The album produced two sets of singles, ‘Anthem’ and ‘Urge’. The track ‘Anthem’ sported Danny McCormack as lead vocalist for the first and only time. The album was released on three separate formats – CD, LP and cassette. The Japanese version was released in March of the following year with slightly different cover artwork and the bonus track, a distorted cover of the Elvis Costello song ‘Pump It Up’. This track was to also appear on a freebie Melody Maker CD.
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.
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on 13 October 2012
Wow, this album makes a tremendous noise and on first listen said noise doesn't sound immediately familiar as classic Wildhearts. However, like Kurt Cobain, Ginger has an acute pop sensibility, which ensures that even his most challenging songs have clear melody and a sense of progression. Indeed, this album feels like a direct evolution of earlier Wildhearts songs such as Caffeine Bomb and Suckerpunch, pointing squarely to the bands punk roots. A cover of the Dogs D'Amour classic 'Heroine' (here 'Heroin') is a standout, expertly conveying the underlying darkness and sense of menace that the song represents. Whilst for me, a couple of songs that don't quite hit the mark stop this from being an essential purchase, Endless Nameless remains a most welcome addition to the Wildhearts collection.
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on 25 August 2010
Very hard even to listen to this at first
After several tries a few fragments of song start to emerge
After a few more you get to like a track or two, but still struggle to listen to it
After 30 or so tries there are 2-3 really superb songs and still a lot of noise

After many more this becomes a real classic. I still dont understand why you would mix these wonderful songs in such a chaotic way - I guess its just art really.

Nurse maximum, Anthem and Junkenstein are really just wonderful.
I still admit I'd like to have a copy with a regular mix - but it might just not be the same... something wild and eclectic about this album. I guess it's just really cool having something that you love, that noone can understand at all.

Maybe this album to a rocker, is like a Picasso to a non art lover. It just looks plain stupid, and you just don't get it.
Maybe its like one of those blobby pictures that form into a 3D picture after a while - you stare in fascination and hope, and are eventually surprised by what you find.
Maybe it's just wonderful for being what it is - and so different from the norm.

Modern art for your lug holes ;)

Edgie.
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on 13 October 2011
I don't think this album's likely to win any awards, but at least it's a little different, both from their previous albums and from anything else you're likely to hear. Sitting here thinking about this album, the sound and some of the songs come back to me quite easily, and while I'm not desparate to stick it on, at least it made its mark on me. Ginger is a good songwriter, at times a great one, and even if you don't like the heavy distortion on this album, you have to admit that it can't entirely obscure his essential songwriting skills. At the same time, the heavy distortion is what makes the album stand out the most, so perhaps the songwriting wouldn't have as much impact without it. It's memorable, but it's not Greetings from Shitsville memorable. Wildhearts fans probably already know this album and have their particular opinions about it. Everyone else is probably saying "what? who?" and in this case I'm not quite sure how to answer those questions. What and who this band were at this particular stage in their career is pretty hard to describe or explain, even as someone who's been listening to their music for years, and unfortunately, I'm not sure the description or explanation would really be that satisfying if there was one.
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on 22 June 2011
Dear Wildhearts, please could you be so kind as to rerecord this album please as it is far to tinny for my liking and lacks a fuller sound, there are some great songs on here which are going to waste. If you ever do an anthology perhaps you may take the opertunity then to rerecord some of these tracks with a fuller production sound.kind regards a Wildhearts fan of Earth vs, Fishing For Luckies, P.H.U.Q and Wildhearts Must Be Destroyed.
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on 12 January 2000
From 'Mondo Akimbo -Agogo' The WiLDHEARTS constantly progressed, never fearing to do something different or unexpected. 'Endless, Nameless' is both. To expostulate that this is their apotheosis would not be erroneous. Their first album to feature the writing talents of the rest of the band is one that almost shocks at first listen. But that is all for the better. It is a great saltus from 'PHUQ', yet remains one for all fans. From the off, it attacks the ear drum with a wall of sound. But the melodies are there still, if buried beneath the industrial cacophony (in the nicest possible sense), as are Ginger's pulchritudinous and profound lyrics. The most fitting of climaxes to the album is the Orphean 'Thunderf**k'. It wonderfully ends the album on a high. Anybody who likes their music to be anything but bland should buy this.
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