There are a lot of myths surrounding two-piece bands in rock. Like they have to have a “quirk”. Or they rely on large helping of studio trickery, or backing electronics to make up for the lack of personnel. Or they feel the need for a spooky back-story to ensure the twosome is not lost in a sea of trios and quartets.
Year of the Cobra need no mythologising. All Amy and Jon Barrysmith have – or need – is a bass guitar with a paving-slab-sized array of effects pedals, and a set of drums. The former plays the guitar, the latter plays drums. Oh, and Amy has a fantastic voice. That’s all they need.
This is Year of the Cobra’s first album in over five years (fittingly released in the year of the snake, too), since the excellent Ash and Dust. But they have been busy in the interim (global plague notwithstanding). They maintain a regular touring schedule and Amy has sung on not one but two albums as part of Slower, a supergroup including members of Monolord and Fu Manchu, whose chief raison d’etre is to play slowed-down Slayer songs.
And the punishing schedule has only served to inject more attitude, swagger and groove into Year of the Cobra’s sound. It is no coincidence that this album is self-titled, because all the good bits of their last two records – and a couple of EPs – have been crystallised into a quintessential Year of the Cobra work. The monochrome, DIY-style artwork, featuring Jon and Amy and the band name in utilitarian lettering, all framed by distressed-effect edges, adds to the sense that the pair are eager to advertise that this is the pair as they were meant to be heard.
Expectations for the album were high from the minute the lead single, ‘War Drop’, with its bouncy, Meters-but-metal beat from Jon, was unleashed upon the world. If ever a song was made for air-drumming along to, it is this one.
But those expectations were met with the rest of the album. The first four songs blow your socks off. ‘Full Sails’ kicks things off, a maritime-themed earworm infused with malevolence (and a singalong chorus). Then comes ‘War Drop’, which is followed by ‘Daemonium’ a catchy, punky number with frankly creepy lyrics that one hopes do not come from life experience.
Then comes ‘Alone’ the first of two numbers which meet a niche affinity of mine: heavy songs you can waltz to (the other is ‘Prayer – more on which below). They are more common than you think – almost every power metal band has a 3/4- or 6/8-time ballad in their catalogue that is ripe for a waltz. And ‘Alone’ on this album also fits the bill, with its triplet bass plucks.
The song is noteworthy for another reason. A hallmark of most of Year of the Cobra’s music up to now has been the fuzz and chorus-laden bass tones. But this one has a healthy portion of clean notes, which add to the spookiness of the track. It is also worth mentioning the production job on the record – by Matt Bayles, who made The Sword sound great on Warp Riders, along with providing Mastodon, Pearl Jam and many others with expertise – is top-notch.
‘7 Years’ rivals ‘War Drop’ for the title of grooviest song on the album. The riff and beat are so tight, while the chorus will occupy your brain long after listening.
And so to ‘Prayer’, a seven-and-a-half minute meditation on, well, praying. It is gorgeous. And it is a sign of Year of the Cobra’s confidence to grow and progress. The preceding two tracks – ‘The Darkness’ and ‘Sleep’ are good, but they could have been taken from any of their releases. We would have been more than satisfied with the album ending with something we already know. But ‘Prayer’ takes our admiration to a new level.
After a subdued intro with clean bass notes, the waltz element comes from what sounds like a marimba playing an ascending arpeggio. The melody is achingly sad, with lyrics to match. A string effect comes in (with added bass fuzz) to add to the despondency (in a good way), as the song crescendos to the end. It sounds like some time was spent on this song in particular, because the effects are spine-tingling.
It is the best track on an album devoid of filler – one which showcases Year of the Cobra’s best attributes. And it shows just what can be done with bass, drums and a killer voice. Listen to it, buy it. You won’t be disappointed.
