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THE KING CHEETAH THE KING CHEETAH L.P.Tel un léopard féroce et véloce, ce "raw power trio" londonien basé à L.A., déchire un rock brut et
mélodique avec une dynamique incroyable, celle du fauve passionné mais puissant. Just rock'n'roll!
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THE KING CHEETAH THE KING CHEETAH L.P. SPITSHINE RECORDSTHE KING CHEETAH L.P. is the debut full-length disc from London's best new band in decades. The King Cheetah is aggressive and passionate, and the
music reflects it all. Track 1, "Squaddie Meat", begins with drummer Simon Hancock torturing his drums with brutal, pounding statements. Then Robin Holden's thick, air-eating bass and the surfish guitar of Robert Paul Maune weigh
in together. These three are an amazing band. Robert's voice is sharp, smart, and creatively issues cool-as-hell melodies, and his lyrics are as masterful as his guitar work. People will be talking about the first time they heard
THE KING CHEETAH L.P. 20 years from now. No matter what song you hear last, that song plays in your head all day. Go buy THE KING CHEETAH L.P. immediately.
Reviewed by H. Barry Zimmerman
Skratch Magazine
http://www.skratchmagazine.com/cdReviews.php
Click here to view the real article (in a new browser window).
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The King Cheetah (3 stars) The King Cheetah LP
This post-punk trio from England are on tour to promote their first full-length album. Angry as all get-out but with a nice lyrical sense that comes through between screams and thrashing guitars, the hypnotic
"Vampire State Building" at the end is a refreshing drink of water after eight hot tracks.
Reviewed by Martin Stein
Las Vegas Weekly
http://www.lasvegasweekly.com/2005/07/14/soundcheck.html
Click here to view the real article (in a new browser window).
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| This U.K. threesome packs a punch!
I’ve listened to a lot of CDs this year. Very few of them, if any,
inspired me to tear off all my clothes, throw open the windows and thrash
around the living room. Only one actually had me DOING it. This is it. The
best indie disc I’ve heard this year.
This U.K. threesome packs a punch. From the opening war-drums on
"Squaddie Meat," the arrogant funk-vamp of "No No No,” to the
prize-winning best song title of ’05, "Vampire State Building,"
the King Cheetah have got the power. It’s a gritty, dirty Brit sound;
imagine standing on stage in a pile of broken beer bottles two feet thick,
trying to sing as a leather sofa burns in front of the stage. That is the
sound of The King Cheetah.
This group isn’t concerned with the neighbors' sleep schedules. If you
invite them to your party, they will most likely commandeer your stereo and
play Iggy and the Stooges at maximum volume until the cops arrive, then
retreat down the fire escape while you face the consequences. A risk worth
taking.
They would hurl a mike stand at me for making comparisons, so let’s just say
I can easily see them playing a double bill with the Manic Street Preachers,
whom the Cheetahs probably hate. So much the better. That kind of rivalry
makes for blistering shows. Bring it, boys.
If The King Cheetah isn’t scooped up by filmmaker Guy Ritchie for his next
UK crime movie, ala Ocean Color Scene and Iggy Pop, it will be a sickening
travesty. If you enjoy in-your-face music with fast-and-loose guitars and bass
guitars set to "kill," this is the disc of the summer. Why they
moved from Jolly Old England to California, I’ll never know. Cali is Chili
Pepper country, home of West Coast gangsta rappas and snot-nosed brat punk.
The group sounds like it would be more at home in Detroit, where the dirty
buildings and factory soot compliments their fabulous sound much better than
sunshine and clear skies.
Reviewed by J. Wallace
Indie-Music.com
http://www.indie-music.com/modules.php?name=News&file=article&sid=4161
Click here to view the real article (in a new browser window).
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THE KING CHEETAH at the Echo, March 1
Though the King Cheetah have relocated to L.A., the English trio’s sound and
demeanor remain proudly post-punk British. Black-clad and suede-headed, they
exude a bristling disillusionment with, well, everything. Their attitude is
more confrontational than wallowing, pumped with the fists-in-the-air optimism
of a summer’s night riot and bathed in a rough-hewn workingman’s
romanticism.
The flagship tune, “Six Inch Killaz,” hangs and harangues on Robin
Holden’s stubbly Stranglers bass line, while hoarsely sensitive, alienated
Psychedelic Furs verses bookend a lurching chorus that’s equal parts pop
anthem and hooligan herd call. But there’s nothing moronic or morose here.
The King Cheetah are masters of three-piece dynamics — each Cheetah knows
when not to play, and they reserve the option of three-way vocal vitriol when
points need hammering home. Robert Mune’s cultured rhythm-guitar playing is
deceptively vital, segmented stop-start sections liberated with tumbling,
fuzzy arpeggios. The angular Holden’s Bruce Foxton bass work is mobile,
melodic and menacing, while Simon Hancock’s studied grooves lurk with intent
before detonating beneath the big moments. The King Cheetah’s very manly
frustrations are offset by a boyish, before-the-bedroom-mirror delight at just
being onstage, at being able to vent in front of their mates, at being allowed
to live their teen dream.
These rabble-rousing, blue-collar blokes nonetheless are unafraid to show a
croaking, Bowie-esque sensitive side and, dare we say it, dabble with
artiness. Like Paul Weller, whose stage rage he channels, Mune is both Doc
Marten and paisley shirt, scribbled poetry and wall-daubed slogan. And the
King Cheetah have the tunes to make us listen, never pandering, never
carpet-bombing when squint-eyed sniping will suffice. Out of step with
fashion’s hypnotized parade, the King Cheetah remind us that real men play
whatever the fuck they want.
Reviewed by Paul Rogers
L.A. Weekly, Vol. 27, N° 17
http://www.laweekly.com/ink/05/17/live-quinones.php
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