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 no wave movement that produced noisy, disagreeable, anti-social, but often very intriguing bands. Cop Shoot Cop 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-rock 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 noise, and what you end up with is an anti-rock style that 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.
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