Subtlety Isn’t a Strength for Does It Offend You, Yeah?

Let's get something straight right off, okay? Does It Offend You, Yeah? is not particularly offensive, unless you're offended by stupid band names or brain-dead party music. A few purists may be chafed by the lack of originality on the band's recently released debut, You Have No Idea What You're Getting Yourself Into, but new ideas are optional when you're talking about the instant gratification you'll get when any of the disc's tracks detonates the dance floor of your favorite hipster dance party. And make no mistake: Each and every one of these songs is going to be played to death by every indie/electro/retro-spinning DJ in the business.

The members of Does It Offend You, Yeah? take some of the hottest sounds of the past five years — the ripping electro of Daft Punk and Justice; the raw, furious dance punk of Death From Above 1979; the guilty pleasures of '80s synth-pop that seem to be seeping into everything — and blend it all into a gooey, abrasive, cheeky mix. It isn't deep, and it sure as fuck isn't subtle, but faced with war, recession, terrorism and ecological collapse, who has time for any of that shit? Goddamn if it isn't the perfect sound of now: cheesy electronics, anthemic riffs and crackling beats powered by a fuck-all attitude. It's all aimed at moving your ass and having a good time, everything else be damned. It probably has less of a shelf life than organic produce, but who cares about tomorrow, even if it does come?

Does It Offend You came together just two years ago, when Dan Coop and James Rushent began writing electro-influenced tracks together in their bedrooms. They banged the first track out over a long weekend and followed it with another on each of the following two weekends. After the third one, their efforts attracted serious label attention.

"I just think we were writing the kind of music that A&Rs wanted to hear at that time," Coop muses. "I'm sure if we were in the same position this year — everyone is looking for something new now. But at that time we were sort of, like, being chased, really. It was really quite odd."

After the record labels came calling, Coop and Rushent decided it was time to recruit additional members to help them flesh out their live show rather than become stodgy electronic-wrangling dorks. Live, Coop handles synthesizer duties while Rushent plays bass and sings, sometimes through a vocoder. Adding Morgan Quaintance on guitar, synthesizer and vocals and Rob Bloomfield on drums completed the transformation from bedroom producers to full-blown band.

"We were a bit like, 'Yeah, we'd like to be signed, but we don't like being DJs — never really been into that,'" Coop recalls. "We didn't want to be a production team, where we'd have to stand behind laptops playing in clubs every Friday or whatever. So we just said, 'Okay, if we're going to do it, we've always wanted to be in a band, so we're going to do it properly.' Do whatever we've done in the past, but do it properly live. So we called on a couple of our friends that we'd known for a while and said, 'Look, we've managed to come up good and get a record deal. Do you want to come on board?' And they were like, 'Sure.'"

The move appears to have paid off. In the course of its short existence, the band has earned a reputation for high-intensity, explosive live performances, most notably drawing rave reviews for a set at SXSW that won a slew of new industry fans.

"We're not the kind of people just to...we don't like standing still on stage," Coop explains. "It makes us more self-conscious. I think the more energy you put into the show, the more energy the crowd responds. And I think we're not the kind of band that wants to stay still and create, like, a magical atmosphere. It has to be an electric atmosphere. That's what we're after, really — just a really loud and live show."

The seeds of this attitude toward performance were planted years ago, when Coop was growing up in Reading, England, home to one of the U.K.'s biggest music festivals. One year, while attending the festival, he was fortunate enough to catch a set that contained much of what his band would draw on in later years.

"So every year, I'd just sort of go along to this festival and see bands," says Coop. "And one year the lineup was Beastie Boys, Rage Against the Machine and Prodigy, one after the other. And I went to that show and thought, 'That is pretty much what I want to do from now on.'"