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Cobra Killer, "76/77"
Monika Enterprise
Writinggood music is an incredibly difficult thing to do. Knowing this andconsidering how easy it has become to make music in a home basement, Ishouldn't be surprised that seriously bad songwriting is rearing itsugly head more frequently. Cobra Killer's punkish attitude and totaldisregard for anything truly igneous creates the kind of sterileenvironment that could kill any erection and hurl any optimistic,music-loving, passionate human being into the kind of depression thatusually ends up stinking of alcohol and all-night country music binges.76/77 opens up with "Let's Have a Problem," a rhythm-centeredexercise in monotone vocals, monotonous loops, and melodies that PaulOakenfold might've had something to do with. Fortunately this is not anindication of all of what is to come. "Mund Auf - Augen Zu (SteckerRaus, Ich Dreh' Durch)" contains one part catchiness, two partshalf-awake vocals, and just a hint of personal satisfaction. It is asimple track that succeeds by sticking to what works... over and overagain. It's not the greatest song in the world, but it sticks out likea zit on the face of a Hollywood actress. "Chemie Des Alltags" returnsthe album to the state of mediocrity that "Let's Have a Problem" madeso painfully obvious and, with one exception, the album never reallystrays away from that blandness. How in the hell "High is the Pine"made it onto this record might as well be one of the nation's greatestmysteries. For just 3 minutes and 14 seconds, Cobra Killer puts awaytheir super-trendy, wanna-be punk 'tude and sings an amazingly gorgeoussong with a popping guitar line and swooping strings backed in grandeurby the (gasp!) vocals that actually hint at a melody that doesn't relyon just three tones. The problem with something like this has to bethat its all glam and no substance. Regardless of how under MTV's radarit might be, that doesn't change the fact that it's a painful blend ofbland writing and fake fucking personality. I'm sick of the posing, I'msick of the flashy sound effects and "groundbreaking" song structures:these songs (with one exception) have no soul! And, in addition,there's nothing new or surprising here. It's not as though Cobra Killerwas trying something new and just failed, 76/77 doesn't do anything that can't be done by any band who has material available at the local mall.
Writinggood music is an incredibly difficult thing to do. Knowing this andconsidering how easy it has become to make music in a home basement, Ishouldn't be surprised that seriously bad songwriting is rearing itsugly head more frequently. Cobra Killer's punkish attitude and totaldisregard for anything truly igneous creates the kind of sterileenvironment that could kill any erection and hurl any optimistic,music-loving, passionate human being into the kind of depression thatusually ends up stinking of alcohol and all-night country music binges.76/77 opens up with "Let's Have a Problem," a rhythm-centeredexercise in monotone vocals, monotonous loops, and melodies that PaulOakenfold might've had something to do with. Fortunately this is not anindication of all of what is to come. "Mund Auf - Augen Zu (SteckerRaus, Ich Dreh' Durch)" contains one part catchiness, two partshalf-awake vocals, and just a hint of personal satisfaction. It is asimple track that succeeds by sticking to what works... over and overagain. It's not the greatest song in the world, but it sticks out likea zit on the face of a Hollywood actress. "Chemie Des Alltags" returnsthe album to the state of mediocrity that "Let's Have a Problem" madeso painfully obvious and, with one exception, the album never reallystrays away from that blandness. How in the hell "High is the Pine"made it onto this record might as well be one of the nation's greatestmysteries. For just 3 minutes and 14 seconds, Cobra Killer puts awaytheir super-trendy, wanna-be punk 'tude and sings an amazingly gorgeoussong with a popping guitar line and swooping strings backed in grandeurby the (gasp!) vocals that actually hint at a melody that doesn't relyon just three tones. The problem with something like this has to bethat its all glam and no substance. Regardless of how under MTV's radarit might be, that doesn't change the fact that it's a painful blend ofbland writing and fake fucking personality. I'm sick of the posing, I'msick of the flashy sound effects and "groundbreaking" song structures:these songs (with one exception) have no soul! And, in addition,there's nothing new or surprising here. It's not as though Cobra Killerwas trying something new and just failed, 76/77 doesn't do anything that can't be done by any band who has material available at the local mall.
