Cops Music is a sound all of it's own. A schizophrenic mess of grandiose guitars, cheap electronics and precision drilled ensemble performance. They got scuzz, they got funk, they got a huge cultural vacuum cleaner sucking up all manner of disparate fragments into the whirling vortex of their, already bulging, rock'n'roll dustbag.

I think the noted rock historian, R. Clelland of Newtown summed it up best when he stated that Cops lead singer, Cartel, was a perfect blend of swivel hipped groover and bespectacled nerdo, a man equally at home in front of fruity loops as he is striding the stage beating seven shades of crap out his superfunk brand cowbell. It is this that makes Cops Music so wonderful; from the torrential guitar downpour of Foxtrot Yankee to the arch electronica of She Sleeps With Guns, their debut album Stomp On Tripwires pushes rock'n'roll onto the dancefloor without resorting to the sweaty aerobics music that a lot of rock bands do when they discover the funk.

Cops Music is sophistication as seen through a haze of cigarette smoke, cheap booze and even cheaper amphetamines, it's a teenage life spent listening to records and making a note of the hairstyles and it's a traveling party coming to dullsville to brighten the place up a bit. The Cops follow their own path, nobody told them what record to make they just holed up in a vault out west and this is the end result: a miasma of sound that ain't afraid of nothin'. Ladies and gentlemen you have been warned

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