Lets Start a Riot (2008) - 9/10
It's Hard to Be a Diamond In a Rhine Stone World (2008) - 9/10
I Scream I Scream (2009) - 8/10
OMFG Sneak Peak (2009) - 8/10
Epic (2010) - 8/10
All the Rage!! (2011) - 7/10
Evolution (2012) - 6/10
Anthem of the Outcast (2012) - 7/10
Bad Blood (2013) - 6/10
Blood Unplugged (2013) - 5/10
Bitchcraft (2014) - 6/10
Master of Death - Master of Death (2015) - 6/10
Scissors (2016) - 3/10
Kawaii Monster (2017) - 2/10
Haunted (2018) - 2/10
Cinema Erotica (2018) - 2/10
Hollywood Death Star (2019) - 2/10
OMFG (2023) - 9/10

Blood on the Dance Floor's first album, Let's Start a Riot (2008), doesn't even feel like a real album, as its songs sound like cheesy, hilariously incompetent, lo-fi, covers of past synth-pop and electroclash hits. What offended the masses was the vulgar, gross and depraved lyrics, and the general display of Vanity's abominable persona, but the melodic talent was undeniable. Vanity's morbidly androgynous (and frankly amateurish) vocals further antagonized the rock and pop audiences. But in a sense his project was simply the continuation of the attack on sexual dogmas launched in the 1960s in a satirical vein by the likes of Frank Zappa and Alice Cooper and continued in the 1980s in a gross and self-destructive vein by certified punks like GG Allin and the Meatmen. Hip-hop music had often turned that attack into something more obscene and abusive. It's something that countless rock stars, from Elvis Presley to Mick Jagger and from Jim Morrison to David Bowie, had alluded to (with the silent collaboration of their fans). Blood on the Dance Floor restored a demented dimension to the long-running sexual-trasgression project of (un)popular music. The perverted anthem I Can't Get Enuff borrows from Nine Inch Nails but with much less virulence, more closely related to disco-music of the 1970s. The core of the album are degenerate raps like Bitches Get Stitches, that often exploit the beat of Hellogoodbye's Bonnie Taylor Shakedown (2004), and often sound like variations on Bloodhound Gang's The Bad Touch (1999), and often evoke the mood of 1980s synth-pop albums such as Soft Cell's Non-Stop Erotic Cabaret. Blood On the Dance Floor also incorporates the childish rigmaroles of Aqua, and in fact I Heart Hello Kitty sounds like Aqua on lust-inducing steroids. The two bands share the same passion for insanely silly erotic parody. There's also room for the gloomy atmosphere of Sex and Violence, that winks at Joy Division, and for the gallopping hard-rocking polka You're a Dancer You're Not a Lover. Vanity's delirious show ends with the piano-driven Libertine at a Neil Young-ian martial pace. The album is a tribute to musical stupidity, it's parody of music that wasn't meant to be taken seriously in the first place. In a sense, it's total nonsense. In a sense, it's the ultimate statement of provocation as entertainment (the ultimate punk ethos). In a sense, it's a weapon of deviant post-modernist cultural terrorism. The musical merits are certainly limited, especially after the first seven songs.