Review by Sonny for Year of the Cobra - .​.​.​in the Shadows Below (2016)

I first encountered this Seattle-based doom duo via their "The Black Sun" debut ep in 2015 and I have been quite the fan ever since. Comprising husband and wife team of bassist and vocalist Amy Tung and drummer, Jon Barrysmith, Year of the Cobra are a unique voice in the world of doom metal. Of course they are influenced by the usual suspects, such as Saint Vitus, Sabbath et al, but they eschew the use of guitars, relying on Amy's bass riffs to power the songs. Her bass playing reminds me quite often of Geezer Butler's classic Sabbath style, which oftentimes lends it a psychedelic and bluesy edge, planting Year of the Cobra firmly in the stoner doom camp. Vocally, she mainly uses a languid and breathy style that is laid-back and seductive like a nightclub jazz songstress, check out opener "Lion and the Unicorn" for a prime example. That isn't her only play, however, and she can also project more force when the need arises.

There are a number of pitfalls with having such a bare bones set-up of course, the tendency to fall into repetitive and hypnotic trance-like pieces for one, or just producing very basic, lo-fi garage metal with a heavy punk influence is another scenario. YotC fall into neither of these traps, however, thanks to an ability to write really nice doomy bass riffs which enable them to produce actual songs rather than just drawn-out jams, which are at once melodic and reasonably memorable, with an admirable variation in tempos and styles, from the longer, hulking, conventional doom tracks, through the psych-inflected catchiness of "Spider and the Fly", the punky vitality and urgency of "Persephone" and doom'n'roll of "Temple of Apollo" to bluesy jams such as closer "Electric Warrior". I think the bass lines are multi-tracked quite often, which also allows Amy's playing to become more expansive. Drummer Johannes is every bit as important to the success of the duo, his impeccable timekeeping obviously underpinning the tracks, but also his busy, jazzy style, again referencing Sabbath and drummer Bill Ward's love of jazz drummers, provides plenty to hold the the listener's attention and to engage with.

In conclusion, I think "...in the Shadows Below" is a great example of how much can be accomplished in the doom and stoner sphere by creative minds, even with the most basic of set-ups. Considering that, apart from a bit of multi-tracking, this is truly just drum, bass, and voice, the resulting variety, melodicism and memorability is an impressive feat of artistic endeavour.