The Cops Discography:
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We are The Cops:
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Some people have been talking about The Cops: On Free Electricity, the Cops' staccato stop-and-go six-string rhythms couple with abusive drumming to create a surprisingly danceable set. "Mega Suicide" and "Secret Lives" pummel like guitar-fueled bulldozers, though they serve as exceptions to the dance-rock rule. "It's Epidemic" opens the album with a frantic mess of jutting guitars, while the sparse but insanely catchy "Light It Off" evokes images of a beefed-up Spoon. "Islands" sounds like better amplified !!!, while "Modern Black Flats" compares to Wire and Gang of Four 45s played at 33 1/3 RPM. It's the organ-drenched blast "Cold Crushin'" that steals the disc, mimicking a scream-less Blood Brothers to rump-shaking effect. -SPIN.comOn the scale of bands with boot-licking law-enforcement names, the Cops rock much harder than, say, reunited corporate whiners the Police and more tunefully than torturously arty noisemakers Cop Shoot Cop. The Seattle quintet kick it out with plenty of punky energy and driving guitars on their 2005 CD, Get Good or Stay Bad (Mt. Fuji Records), with Michael Jaworski’s raggedy singing coming together with John Randolph’s backup vocals for rousing shout-along choruses on “Negative Cutting” and “We Are the Occupants.” There’s a Brit-punk kind of squalor and swagger on tracks like “Don’t Take It Personal Dave,” and the Cops finish things off with a properly seedy version of Wire’s “Lowdown.” As with Stay Bad, the Cops’ upcoming CD, Free Electricity (due in early November), was recorded with the Fastbacks’ Kurt Bloch, who keeps it all dirty rather than gussying up everything with too much polish. They’ve since added a new member, Brandon Bay, giving them three guitarists to trade off with bassist Drew Church on the jagged, stop-start riffage of the upcoming album’s “It’s Epidemic. - LA Weekly When first seen in concert, the Cops lead singer Michael Jaworski somehow reminds me of better-known musical frontman Britt Daniels. It might be the way they dress, or their stiff-backed, onstage persona, but there is a definite air of similarity between the two talented artists. Yet the similarities violently halt when the music starts to blast, because Seattle-favorites the Cops have a weapon unknown to Britt Daniels' mopey crew—they can fucking rock. When Jaworski leans into the microphone, body tensed, vocals tearing a hole in the ozone, he is a musician unto himself. A taut-wire musical force backed by an upbeat shower of machine-gun power chords and growling bass—a veritable tsunami of energy, powerful enough to wipe the memory of a certain famed singer/songwriter frontman right off the gray matter. - Portland Mercury "The Cops are the Seattle rock act most likely to blow up global-style any minute now. Currently at work on another full-length effort coddled by local rock n' roll sage and apparent busybody Kurt Bloch, The Cops are going to have a tough time staying off everyone's radar real soon."- The Stranger “A spunky foursome with sneering Garage Rock swagger…intimidation as their key weapon… their ear-damaging outbursts are dangerous in how they can be simultaneously fun and insidious. Their barbwire-laced riffs snare your lager-loving side in grimy unfiltered pleasure, only to leave you dazed before a row of grinning yellow teeth framed by unkempt chin stubble.” CINCINATTI CITY BEAT “(The Cops deliver) a thunderous live set of political, yet danceable punk.” KEXP “Get Good or Stay Bad (Mt. Fuji), is adrenaline rock fueled by blunt bare-knuckled riffs.” COLUMBUS ALIVE! “The Cops are pissed, and rightfully so. Orwellian swine clog the White House. Fear and depravity run amok on prime time. Citizens are color-coded red or blue. And like the Clash before them, the Cops point fingers at the antagonists with lip-curled sneers and power chords.” PORTLAND MERCURY “Make no mistake, true believers, this Seattle quartet are firmly in possession of "it" — that indefinable combination of blood, sweat and sharply focused adrenaline that makes rock feel revolutionary all over again. Their full-length debut (Get Good or Stay Bad is) one of the year's best.” ISTHMUS “On their first full-length, Get Good or Stay Bad, the Seattle punk quartet deliver their state of the union in a natural extension of late-'70s British punk. Though their guitars are tuned to 1977 London, their message is for our country today.” THE STRANGER “The Cops have written a record as interesting as it is energetic…This is a solid, accomplished debut full-length from a band that manages to pay tribute as well as improve on the formula.” NEXUS MAGAZINE “It's the hedonistic air of abandon that really sells Get Good or Stay Bad. Timeless punk rock riffs, playful, groovy bass lines and simple but effective and often surprising drums do more than evoke the classic danceable punk rock of decades past; they make for a damn solid record.” SPLENDID “The attitude in singer/guitarist Mike Jaworski's voice is infectious; "Controller" plays like a new band's independence anthem, and "T.V. Lieyes," free of false affect, is inspiring.” PREFIX MAGAZINE “Producer Kurt Bloch (Mudhoney, Fastbacks) captured them perfectly in the studio: …This is not punk cabaret; this is men making muscular rock and roll… The guitars never ape the Gang of Four's style. There are no XTC harmonies, no one is fashionably shaking their size five girl-jean ass. Fuck, yeah.". THREE IMAGINARY GIRLS “The Cops play throwback, `77 style punk with a certain pop sensibility… incredibly catchy, with a rhythm section that even in the whitest of white boys could find the groove in.” TREBLE “With a solid, energetic rock sound as a vehicle, The Cops have taken a stand against the forces of evil in power here at home and some of the societal woes that continue to plague the common man. With Get Good or Stay Bad, dissent and rebellion have never sounded so good.” MXDWN “Passionate and exciting…This is a well-realized punk revival effort that attempts to capture the meaning, in addition to simplify the musical form, of their influences.” 30 Music “Fuck. Finally. A band that gets the influences of ’77 and make it their own. The Cops show how to take those dusty ole albums from the 70s and run them through a time machine making their urgent cries of “Wake the fuck up…it’s 2006’ as their immortal loot and grab of the best riffs that rock’n’roll has to offer from the pasty thirty years run through their songs. Essential.” POPTONES
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