Does It Offend You, Yeah? Are a hard band to warm to. There's the name, for one thing: a question whose only tempting reply is an exaggerated shrug. But at least ask yourself what kind of sonics might fit that name. Howling batteries of unreconstructed noise? High-strung mall-emo with serious entitlement issues?

Does it offend you, yeah?, also known as DIOYY and DIOYY?, is a British dance-punk band formed in 2006 by James Rushent and Dan Coop, soon joined by Rob Bloomfield.

Barely adequate dance-rock to keep you occupied until the next Klaxons record? Now we're talking! As this album trundles on, its title turns unpleasantly sarcastic. Any one of these tracks will give you a very strong idea what you've gotten yourself into, and that'll be the only strong idea you meet. Does It Offend You, Yeah? Play doggedly ugly, riff-driven electro. Their harsh, crunching keyboards might sound raw and immediate, if it wasn't for the way the hooks slide out your brain so fast.

Their ranting vocals might seem confrontational, but they're autotuned so often they feel diffident and defensive. Their beats might be so propulsive as to make all that irrelevant-- except all the band's rhythmic ideas are stuck a decade ago, like they've bought up some old Chemical Brothers kit on eBay and haven't read the manual yet. So this record's creative and artistic value is pretty much nil-- in fact it only just hits competent. But that's OK-- I don't get the feeling the band are shooting for 'art' anyway, and competent music can still be functional music: a good accompaniment to more exciting activities. Does It Offend You, Yeah? Have already licensed songs to the FIFA Street 3 game, for instance: I can imagine the yelpy 'Battle Royale' sounding fine if half-heard while doing digital ball-juggling.

Other songs will also have their uses. It's probably a bit stale for advertising, but the tolerably aggressive 'We Are Rockstars' might work over a montage of camphone footage in a sales presentation.

Partygoers throughout 2008 may wake up grateful the band wrote a song called 'Let's Make Out' so they could burp the title into someone's ear. The best track, which for two minutes does recapture Klaxons' playful frenzy, could be great on a sweaty college dancefloor. It is still called 'Attack of the 60 Ft Lesbian Octopus', but you have to start somewhere. The closing songs do find the group stretching themselves a little more-- 'Epic Last Song' and 'Being Bad Feels Pretty Good' lose the electro-vox and go for something a little slower and a lot more pained. To no great surprise, when they drop the nu-rave trappings the band fit perfectly into a long-shuffling queue of British plod-rock, somewhere between Shed Seven and Gay Dad. Dao Of Chinese Medicine Pdf Download. But the thing about offending people is that you can nearly always find someone to take the bait. In the band's own world, Does It Offend You, Yeah?

Are electro punks with nostalgia in their sights: They talk in interviews about how old-school ravers are disgusted by their rock sounds and instrument-smashing stageplay. I suppose it's possible-- maybe they're just rightly pissed at the band's tired ideas and terminal complacency.

What a band name! Does It Offend You, Yeah?

Seemed to be everywhere around the time they released their debut album, the wicked You Have No Idea What You're Getting Yourself Into in 2008. I must’ve seen them at five festivals that summer alone, including Beach Break and Glastonbury, as well in Manchester at a dance event.

The rave-rock band formed in 2006 in Reading by James Rushent and Dan Coop but it wasn’t long until they added members to flesh out their live experience. Each one of their live shows I saw was unpredictable – their sets contained a sort of raw energy missing from dance music, along the lines of Crystal Castles. Musically, they mixed electro and rock, a lot like Justice and Daft Punk but with more of an indie sound. Tracks like ‘We Are Rockstars’ and ‘With a Heavy Heart (I Regret to Inform You)’, the latter being my absolute favourite song of 2008, were intensely heavy and hectic to see performed live, with the band members thrashing around the stage and the crowds pretty much moshing.

They were particularly great at Glastonbury, hyping the crowd up into a frenzy while the frontman jumped on speakers. I’ve heard that they are now on an indefinite hiatus. Their rocking new wave is sorely missed, especially at festivals!