You start with their intentionally confrontational (and controversial) name, NY City’s Cop Capture Cop are descended in the darker impulses from the early-’80s zero wave movement that created noisy, disagreeable, anti-social, but often very interesting bands such as for example Mars, DNA, and Teenage Jesus & the Jerks. Much like those combos, the Cops eschew the impulse of pop entirely, preferring a rumbling, clattering, deafening, metallic audio that targets the band’s two-bass, no-guitar strike. The tune narratives are likely toward simplistic doom-and-gloom observations — a spot they often times belabor. However when this bummer-rock clicks, it’s oddly powerful, if somewhat intimidating stuff, crammed towards the gills with the typical litany of modern metropolitan angst: anomie, alienation, and boredom. Increase this the unusual meters, low-end bassist Natz’s yelling (he hardly ever details it as performing), and forays into natural noise, and everything you end up getting can be an anti-rock design that, despite its recurring tendencies, is certainly furious, terrifying, and powerful. Regardless of the natural anti-commerciality of the music, along with the band’s disdain for corporate-controlled main labels, they do land a agreement with Interscope Information, area of the Atlantic family members. Despite the even more accessible sound of the later information, Cop Capture Cop stay an acquired flavor, even for individuals who like their rock and roll edgy and uncompromising.