Cop Shoot Cop - White Noise (Album Review)
Cop Shoot Cop - White Noise
(1991)
My copy: 1991 press by Big Cat.
Following waves made by their visceral debut, Cop Shoot Cop released White Noise: reinvigorating their novel dual-bass noise-rock setup with stranger experiments for sampler and percussion. Tod Ashely’s vocals are as lively and unstable as ever, ranging from brutal gurgling to dejected mantra. Being obviously influenced by no-wave and industrial music, they rather surprisingly incorporate a wide range of more pleasing chords albeit hidden beneath a growling, rabid facade - these are talented writers and performers operating under the guise of atonal insanity.
Don’t let the frantic, industrial drumming and vitriolic vocal agonizing of “Discount Rebellion” throw you; there is something distinctly melodic about the low/high bass compositions here that are obviously rooted in knowledge of theory. There are vortexes of chaotic noise with stilted rhythms, but it lies only at the precipice of pure malice. “Traitor/Martyr” bursts into a sharp propulsion of bass and drums, retaining a metal sound without all the technical fluff. There is a drama in the vein of Foetus though not quite as intentional, with lyrics that touch on themes of religion and societal disgust. Masterful control of tension is exhibited in the sinister build of “Coldest Day Of The Year,” relenting to maniacal vocal repetition overtop an ever-plowing bass.
The uneven lurch of “Feel Good” features lyrics penned by low-bassist Jack Natz that deepen the unease set forth by the rhythm. The dynamics continue into the slamming of “Relief,” mixing spoken samples about drug use with syncopated feedback squealing. “Empires Collapse” is both their most cinematic and most haunting effort of the album, utilizing female choir samples to brew a devilish take on elevated post-punk in a similar vein to their contemporaries the Vampire Rodents. Anti-capitalist sarcasm adorns the synth/sample interlude “Corporate Protopop” before the blood-curdling wolf-pack howls of “Heads I Win, Tails You Lose” takes over with more stilted riffs.
Cop Shoot Cop never fall victim to schtick as things are kept fresh with strange chant-like percussive sounds that fill the backbone of “Chameleon Man” with muted harmonics bleeding in and out, teetering always on the verge of fury. “Where’s The Money?” is a short horror-film interlude with sci-fi synth stingers. The music goes back towards the light in the vaguely exotic melodies of “If Tomorrow Ever Comes” where they also erupt into their most gratifying post-hardcore choruses complete with mock horn sounds. Guitar is utilized for a last touch of Tom Waits-ian blues with “Hung Again” where organic percussive sounds create a splattered painting of rhythm.
Cop Shoot Cop continue to eschew the genres typically attached to them with White Noise, playing a frighteningly invigorating sort of prison-yard rock with their scavenged percussion and paranoid vocals. The double bass concept is not a mere gimmick - and they make damn sure these songs are as tight as they are cacophonous. Some of the found samples and synth pulses can feel derivative of cheesy horror films, but this is infrequent. Though their name and sound give the impression of cold-hearted noise-mongers, their ability to warp sweet melodies into radical, sludge-driven dirges that rip at societal ties can only be attributed to their sheer talent for writing and arranging.
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