5) Don't Say We Didn't Warn You - Does It Offend You, Yeah?
Potentially one of my favorite bands of the last ten years, Does It Offend You, Yeah is a difficult band to describe. Some call it dance-punk, but they call Death From Above 1979 that too, and DIOYY? is too electronic. Their closest contemporaries were Prodigy, but Prodigy uses live instruments sparingly, and DIOYY? is mostly live. So, we'll say they're "Electro-dance-punk". Their first album "You Have No Idea What You're Getting Yourself Into", which after careful deliberation may find its way onto this list at some point, is poppy and accessible while staying aggressive. The second album, however, is a completely different beast. Take, for example, the lead single, "The Monkeys Are Coming".
It's based around a viral video of a crazy homeless man. Otherwise, it sounds like the Prodigy. Not a lot of harmony (which the first record was basically SOAKED in), but heavy on samples and keyboards straight out of a nightmare carnival.
That's not to say the album is lacking in harmony- the second single, "Pull Out My Insides" is an ode to a breaking heart as it happens. The realization of fraud, but the nonacceptance of abandonment. "You lied to me like it's never been done before... Stay with me, sure I've made mistakes- Pull out my insides". Then there's the proto-Muse of "Wrong Time, Wrong Planet", which is infinitely more interesting than said band's output in oh, say the last eight years? Spacy and, well, bassy, the song would've fit nicely on "Blackholes and Revelations". Also fitting in this shoehorned category is the album closer, "Broken Arms", which sounds almost like a Radiohead outtake.
OK, enough pretty shit. This album is a goddamned beast. Maybe even a "banger", as the kids say. It's dance-y. It's aggressive. From the largely instrumental "Yeah!" (which started off as an ode to the wonderful rant that Peter Finch gave in "Network"- "I'M MAD AS HELL, AND I'M NOT GONNA TAKE IT ANYMORE!"), to "The Knife", which is propulsive and features a choir of children singing the fittingly badass "We'll ride back in and send them all to hell", the album isn't short on fixes for adrenaline junkies. There's a song, "Wrestler", based around a rant that pro wrestling manager and ECW head honcho Paul Heyman (formerly known as Paul E. Dangerously) gave to rally troops before the first ECW pay-per-view. It works better than any cuppa joe I've ever had in the morning. The highlight, though, has to be "John Hurt". Jittery and claustrophobic, with tense verses and a bom-fucking-bastic chorus, the song was to feature an appearance from the track's namesake (but I have no honest fucking clue where). Kids, to call this song an earworm is a gross disservice.
Sadly, the album's critical success (at least in my eyes) wasn't enough. Late 2012, the band went on "indefinite hiatus", whatever the shit that means. Never got to see them live. They even were working on a dubstep version of this album. That's gone too. Bummer.