The second album by Cop Funeral comes after five years of waiting. Due to be released this week, on the 13th of September, by Josh Tabbia on his Already Dead Tapes, a cassette and vinyl oriented label active since 2009, the album has a gloomy atmosphere where Josh is deconstructing every sample he touches.

Pain, the opening track, who also gives the name of the album, is a spaced-out drone and noise composition, also using vocal samples, an uncommon thing for Cop Funeral. Fortune Cookie continues the story with a completely different atmosphere than the first, bringing upfront fast beats and fat lo-fi synthesizer sounds.

"The title track is a contact mic used on an old record player to build and layer noise loops. Other tracks feature a circuit-bent toy keyboard fed through some shitty delay pedals. I usually refer to my set up as 'junk electronic' as it's creating music from unexpected or discarded elements, like cheap pedals and circuit-bent toys" - Josh Tabbia

The fourth track, Peptabysmal, featuring Sean Hartman, plays with some broken-beat samples, distorted and corrupted by effects pedals, designing a dystopian atmosphere, all without vocals, while Tremors on Ice constructs a perfect setting for hip-hop instrumental.

Another painted faces theme is purely a noise piece and it uses lots of reverbs until every frequency of the sound spectrum is filled with dark emanations. Frances uses samples from what seem to be long-forgotten synthesizers, all over imposed on each other, with modulations and an "end-of-the-world" calamitous feeling. The track ends up with long delays and reverbs, in a galore of shadowy and experimental sounds.

After Patricia, comes an up-beat track, almost joyful compared to the rest of the album, and progressive in every way, building up new feelings every few seconds.

Pain reprise (and Goodnight) is another noise composition, in which layers upon layers are added with attention to every detail until the sound is fully lit and ready to go on an eccentric, point of no return, journey.

The last track of this ”Cop Funeral” release, and also the longest one, is made out of drones perfectly described by the author as "a reaction in opposition to all that pushes against us day to day”.

Written and recorded between 2017 and 2019, in Brooklyn and Atlanta, mastered by Alex Borozan, the album will be released on cassette, CD, and digital. 50% of each sale of "Pain" will be donated to RAICES, a nonprofit organization that promotes justice by providing free & low-cost legal services to underserved immigrant children, families, and refugees.