Cop Shoot Cop
Starting with their intentionally confrontational (and controversial) name, New York City's Cop Shoot Cop are descended from the darker impulses of the early-'80s /p>
o wave movement that produced noisy, disagreeable, anti-social, but often very intriguing bands such as Mars, DNA, and Teenage Jesus & the Jerks. As with those combos, the Cops eschew the impulse of pop altogether, preferring a rumbling, clattering, deafening, metallic sound that focuses on the band's two-bass, no-guitar attack. The song narratives tend toward simplistic doom-and-gloom observations -- a point they often belabor. But when this bummer-ock clicks, it's oddly compelling, if slightly intimidating stuff, crammed to the gills with the standard litany of contemporary urban angst: anomie, alienation, and boredom. Add to this the odd meters, low-end bassist Natz's yelling (he never describes it as singing), and forays into pure /p>
oise, and what you end up with is an anti-ock style that, despite its repetitive tendencies, is furious, frightening, and powerful. Despite the inherent anti-commerciality of their music, as well as the band's disdain for corporate-controlled major labels, they did land a contract with Interscope Records, part of the Atlantic family. Despite the more accessible sound of their later records, Cop Shoot Cop remain an acquired taste, even for those who like their ock edgy and uncompromising.
~ John Dougan, All Music Guide
