Album Review: 12217 by Donkey No No – A Genre-Defying Journey
Released in 2017 under Feeding Tube Records, 12217 is an audacious experiment that blends Electronic, Folk, World & Country, Rock, and even Classical influences into one sprawling soundscape. The album’s creators—Ted Lee, Omeed Goodarzi, and Jenifer Gelineau—bring their eclectic talents to the table with a mix of instruments ranging from cymbals and violins to organs and keyboards. It’s not just music; it feels like stepping into someone’s fever dream where genres collide without asking permission.
The standout tracks here are “Optigooze” and “Fuck Trump.” Both leave lasting impressions for wildly different reasons. “Optigooze” starts off as if your speakers have been possessed by glitchy ghosts but soon morphs into something strangely hypnotic. There’s this abstract layering of electronic fuzz and organic textures that makes you wonder whether you’re hearing chaos or order. You can almost picture Ted Lee smashing those cymbals while Omeed fiddles around on his keyboard like he's trying to summon aliens. It sticks with you because it refuses to settle down—it keeps shifting unpredictably, much like life itself.
Then there’s “Fuck Trump,” which speaks directly to its time (and honestly, still resonates). This track leans heavily into experimental rock vibes, blending raw energy with biting commentary. The organ work by Jenifer Gelineau adds this eerie church-like undertone, making the whole thing feel both sacred and profane at once. If protest songs were allowed to wear leather jackets and spit fire, this would be the poster child. It’s messy, loud, and unapologetic—a middle finger wrapped in melody.
What ties these tracks together—and really the entire album—is how uninterested they seem in following any rules. Abstract and experimental don’t even begin to cover it. One moment you think you’re floating through some ethereal folk ballad, and the next you’re knee-deep in jagged electronica. It’s disorienting, sure, but also kind of thrilling. Like when you stumble upon a hidden trail in the woods and decide to follow it just to see where it goes.
If I had to nitpick, the production could’ve used a bit more polish—not too much though, since part of the charm lies in its rough edges. But hey, maybe that’s intentional. After all, perfection isn’t really the point here. What matters is the journey, however bumpy it might get.
In the end, 12217 feels less like an album and more like a conversation between mad scientists who decided to build a sonic Frankenstein. And honestly? That’s exactly why it works. Listening to it reminds me of that old saying: "Life is what happens when you’re busy making other plans." Except in this case, replace “life” with “music,” and you’ve got Donkey No No in a nutshell. Who knew such a weird mashup could sound so… right?
