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Press
August 24th, 2008

Interviews and Features
Live Reviews and Previews
Don’t Be a Baby, Come and Get It
Leather Beer Caddy ep
Axis of Awesome Demo

* Interviews and Features

Feature length interview for CHOPS magazine.

From Headcase Radio:

“MOUNT VICIOUS are a terrific rock/punk group from the Bay Area in California, here in the US. With songs that are full of lots of groove, good lyrics, and catchy melodies that’ll stick in your head, these guys are just a kick in the ass regardless of what song you’re listening to.”

* Live Reviews/Previews

From Sf Gate – Off The Record – August, 2009

Mount Vicious, Saturday @ Hemlock Tavern. $6. 9:30 p.m.

Punk rockers with classic rock influences. They are my favorite punk rock party band.

Yeah, don’t hide it, we all crank AC/DC in our bedrooms and dance in front of the mirror like we’re playing to the Oakland Arena. “How’s San Francisco doing tonite?” we yell to the mirror right before Back in Black starts up. Then our roommate throws an empty beer bottle at the door because they don’t understand the importance of practice….just in case…..you know, “Ve need someone to sub for Brian Johnson tonight who knows all our songs and has practiced singing zem in front of your bedroom mirror.”

Me, oh, memememememe.

“Yes, you, come on ze stage. Vear zis hat. Von, Two, Sree, Four!”

Mount Vicious is way better than AC/DC.

The Onion, 7/20/2009
With song titles like “Skin Flautist” and “Princess Of The Brodeo,” Bay Area rockers Mount Vicious appear at first to dance a grim tango with the irony so many people claim to dislike in today’s young bands. But frontman Conan Neutron’s puzzling wordplay adds a smart-assed, perverse edge that suits the group’s vigorous punch of beefy hard-rock hooks and limb-scrambling post-punk. The band’s insistence on being weird ’n’ freaky doesn’t narrow the sound, either, from the hyper hi-hat rhythms of the aforementioned “Brodeo” to the grunge-speed crawl of “The Long Walk.”

Sunday Music Club – Dane101 – 7/19/2009 Josh Trinkner

I love living in the internet age if only for the music that I wouldn’t have heard of if I didn’t. Case in point, San Francisco’s Mount Vicious. I frequent a forum for musician, misanthropes, and assholes which as fate should have it Mount Vicious’ front man Conan Neutron is a regular member and he had started a thread promoting an upcoming U.S. tour. In promotion of said tour Neutron offered to send copies of their yet to be released album “Don’t Be a Baby, Come and Get It” and being a whore for anything free I replied, these are the things I do for you. I didn’t expect much, but I’ll be damned if I am not floored.

Mount Vicious know their way around a hook, making music that at one point sounds like early Sonic Youth only to hit you with an arena rock riff moments later. A perfect example of this difficult feat can be heard on the ball quaking “Skin Flautist.” Mount Vicious are an enigma to me; at one moment they brood then the next moment that have tongues placed firmly in cheek, such contradictions make “Don’t Be a Baby” a great party record it’s like absorbing one hundred conversations at once. On one side of the room you have bile, toward the center some jerk is telling some story from the night before, and far in the back of the room a girl with smudged makeup expresses her concern that nobody will take her home.

Top to bottom “Don’t Be a Baby” brings the rock unlike any album I have heard thus far in 2009. I’ll find myself stuck on one song but by the time the next track starts I have a new obsession. I can’t imagine how difficult it was for Mount Vicious to compose an album filled to the brim with nothing but straight up great cuts. I can usually cut the chafe from the fat but on “Don’t Be a Baby, Come and Get It” I am hard pressed to do so.

Mount Vicious will be performing this coming Saturday at the Frequency with Milwaukee noise pop outfit If I Had a HiFi at 9:00p.m.

Madison Decider, 7/15/2009

Former Replicator front man now leads the San Francisco-based Mount Vicious. Obsessed with classic rock but grounded in punk rock, MV churns out sleazy anthems with undisputed charisma and authority. Think Girls vs. Boys but with more grit and less romance.

Friday, Nov. 14th, 2008, Seattle Weekly by Raechel Sims

“…But don’t be surprised if Oakland’s Mount Vicious ends up stealing the whole show with their slick combination of shred-tastic guitars and too-cool-to-care tunes like “Wherewolf?” and “Steroid Unicorn.”

Noted cynic, Master of pith and Internet personality Joe Lemur

holy crap dude, those songs are good!

James Burns, U.S.S. Horsewhip and Police Teeth

“imagine The Eagles Of Death Metal as a Birthday Party cover band.”

Misc. comments from the sf_indie list

“kind of heavy, anthemic and… poppy?

Definitely less noise rock, but good stuff, i’m thinking kind of like Queens of the Stone Age or if Nirvana had John Reis on guitar.” -Tom Balancid

“I like it as well…though I’m thinking more like David Yow does vocals for

the Minutemen doing Misfits covers….” -dB

RIYL:

“Wire, and yes to fugazi and Misfits.” -Lisa Dragonlady

“Honestly, it sounds like Burger Wolf covering Burger Wolf’s 2nd hit album from 1978: “Wolfed My Burger”, but that’s just my humbled opinion.” -Paul Miller

* Don’t Be a Baby, Come and Get It

Mount Vicious – Don’t Be a Baby, Come and Get It review from Dead Angel, August 2009

Yeah, I’m quite aware that it hasn’t been too long since Mount Vicious have made an appearance here on the blog, but shit they are good. That and they waste little time in pumping out the rock, so I must keep up. For a bit more background on the band itself, I suggest clicking here and reading my previous post on them. Otherwise, if you’re already up to speed then the band has a new album for all of you to consume titled Don’t be a Baby, Come and Get It out now on Seismic Wave Entertainment. While it features their previous self-released EP Leather Beer Caddy at length on the album, the tunes appear to be re-recorded and there are a handful of new tunes to be found here that are equally as much rocking good fun. The song titles are only the tip of the iceberg as their wit and sharp tongues play out heavily in the lyrics as well, which make for a genuinely fun listen. However, don’t let all of that fool you into thinking that Mount Vicious is nothing but a bunch of jokesters. Far from it really, as these guys bring it in full force laying down a grimey sort of post-punk that for about forty minutes will have you forgetting about all the lame bullshit going on in your life. And if there is none of that, well…you’ll be in an even better mood. Either way, give Mount Vicious a listen.

Mount Vicious – Da Proposition [MP3]

Those interested in picking up Don’t be a Baby, Come and Get It can do so by visiting CD Baby.

Aquarius Records, SF, CA

Mount Vicious certainly have a lot of fun. Their live shows feature (count ‘em) three guitar players, one of whom (Conan) usually rips his shirt off and throws his guitar down to more easily interact with the crowd. The other two often play back to back, axe necks bobbing in unison. Really, with song titles like “Steroid Unicorn,” “Wherewolf,” and “We Enjoy Fucking (To This Music)” how can YOU not have fun listening (or maybe fucking?) to this music? Mount Vicious features Conan Neutron and Chris Bolig of local loudnicks Replicator and Alli Pheteplace of The Holy Kiss, both of which are now, sadly, defunct. Mount Vicious plays a more straightforward (a.k.a. fistpumping) brand of hard rock than either of those two outfits, well utilizing the technique of the harmonized guitar solo. Conan sounds surprisingly like a Misfits-era Glenn Danzig, with a little Mike Patton thrown in for good measure. Listen to this record at high volume.

Sunday Music Club – Dane 101, Wisconsin

I love living in the internet age if only for the music that I wouldn’t have heard of if I didn’t. Case in point, San Francisco’s Mount Vicious. I frequent a forum for musician, misanthropes, and assholes which as fate should have it Mount Vicious’ front man Conan Neutron is a regular member and he had started a thread promoting an upcoming U.S. tour. In promotion of said tour Neutron offered to send copies of their yet to be released album “Don’t Be a Baby, Come and Get It” and being a whore for anything free I replied, these are the things I do for you. I didn’t expect much, but I’ll be damned if I am not floored.

Mount Vicious know their way around a hook, making music that at one point sounds like early Sonic Youth only to hit you with an arena rock riff moments later. A perfect example of this difficult feat can be heard on the ball quaking “Skin Flautist.” Mount Vicious are an enigma to me; at one moment they brood then the next moment that have tongues placed firmly in cheek, such contradictions make “Don’t Be a Baby” a great party record it’s like absorbing one hundred conversations at once. On one side of the room you have bile, toward the center some jerk is telling some story from the night before, and far in the back of the room a girl with smudged makeup expresses her concern that nobody will take her home.

Top to bottom “Don’t Be a Baby” brings the rock unlike any album I have heard thus far in 2009. I’ll find myself stuck on one song but by the time the next track starts I have a new obsession. I can’t imagine how difficult it was for Mount Vicious to compose an album filled to the brim with nothing but straight up great cuts. I can usually cut the chafe from the fat but on “Don’t Be a Baby, Come and Get It” I am hard pressed to do so.

by Joshua James

Mount Vicious – Don’t Be a Baby, Come and Get It review from Dead Angel, June 2009

Imagine the Gang of Four (the band or the political posse) and AC/DC crashing a Situationist cabaret party where everybody speaks in double-entendres — that should give you a hint of the post-rock / post-irony absurdity level at work here. The hot poop on the band usually revolves around the “indie superstar” thing (the members have all been in well-regarded bands from Oakland and the Bay area, including Replicator, City Volume, Holy Kiss, Long Thaw, and Stay Gold Pony Boy, among others), but it’s probably more accurate to say this is a bunch of indie post-rock players embracing their inner love of classic rock and reassembling the pop-rock machine to form new and perverse shapes. More than anything else, the band really embraces the classic rock ethos of bigness and boldness with a gusto that hasn’t been seen in years outside of bloated arena-metal circles — only they’re far more intelligent (and way funnier, or at least intentionally so) than any of those bands, plus they not only have the requisite stellar chops, but some real eccentric ideas about putting those chops together. This is one of the strangest-sounding bands I’ve ever heard that still manages to be phenomenally catchy, no small feat.

They’re not the first (and won’t be the last) band ambitious enough to try importing alt-rock ideals and sounds into the Big Rock Sound, but they have two major things working in their favor: first, a collection of stellar players where everyone carries an equal amount of weight and mesh together well (a miracle in itself, given that there three guitar players, not that you can tell); second, they write excellent songs and execute them with bombastic abandon. I can’t remember the last time I heard this many great songs on one album — out of the ten songs, not one of them is filler material, and the songs are all well-arranged (which is a good thing, given how easily this could have turned out to be a bunch of really different players going off in five different directions at once with disastrous results). Despite the Big Rock sound and aesthetic, their arrangements are actually more of a throwback to the original new wave movement, where tight, concise songs were driven more by tasteful stylistic choices and tonal coloring than cliched verse-chorus-verse arrangements and endless solo doodling. If bands like Grand Funk Railroad, Black Sabbath, and Led Zeppelin had been in the habit of writing songs like those of Blondie, Gang of Four, and the Cars, they might have turned out like this. Titles like “Princess of the Brodeo,” “What’s My Emotivation?,” and “Martyr Party” provide evidence that they’re nowhere near as uptight as any of their classic rock forebears, though, and the lyrics are consistently great, equal parts cryptic obfuscation and sarcastic absurdity (see here for evidence). They get bonus points for the cd’s swank design and what is one of my favorite album covers ever (catfights are go, dude). The scary part is that as good as this album is (and it is, believe me), it probably pales in comparison to the band’s live act.

Mount Vicious – Don’t Be a Baby, Come and Get It review from Mudride #4, Summer 2009

Don’t Be a Baby, Come and Get It, Review Mudride #4
I expected Replicator front man Conan Neutron to come up with something fantastic after the dissolution of that much missed outfit, however what he and long time cohort Chris Bolig (aka: Richard “wreckless” Necklace) have created with this bay area super group has officially blown my mind. This is 10 songs of cocksure, and mamsure for brilliant lady guitarist Alli Mayhem, bravado and anthems for music nerd and neophyte alike. It may be overused to say, but this band lives and breathes rock, and I don’t mean that like a “rock and roll simulator”, type of act, but as a full on personification of all that is wonderful in the genre.

The way I feel about this album is much how I felt when I first heard “Touch me I’m Sick” by Mudhoney. Yes, I may be old, but I know my rock ‘n roll. This kills.

Therefore, I will now do what; I rarely do in these pages and do a song by song breakdown to let you know what I mean.
Album opener Da Proposition, presumably homage to the amazing and brutal western movie of the almost same name, swaggers with a Bad Seeds style authority that usually resides in a much more established band. Hints of Ennio Morricone and Gang of Four slip in while Neutron tells a raucously bleak tale straight out of Blood Meridian.

Never fear though, because the rest of the album absolutely is marinating in positivity. mmm…Delicious positivity!

Princess of the Brodeo: Aside from the hilarious title, if I ever hear a song combining the best of Queens of the Stone Age and the Hot Snakes with Misfits era Danzig singing together, I will be surprised. In what appears to be a love story that takes place at a live show. In a just world this will be bumping from every teenagers stereo this summer. I would put this against any song on the radio, if I listened to the radio.

Skin Flautist: Holy guitar rock Batman! Imagine Eddie Van Halen and Ron Asheton (RIP) joined Sonic Youth at their top dollar best and you STILL will be nowhere near how kick ass this song is. I’m pretty sure this song is about masturbation, but with the level of rocking being thrown down with this bad boy, I’m also sure the only times Mount Vicious sleeps alone is when they want to. They are more than welcome to objectify whoever they want.

Steroid Unicorn: Sing along time kiddies, this might be my favorite song of the year. Blistering riffage resolves to Wire/fugazi style guitar interplay. Apparently some kind of revenge scheme the “Left Behind” Unicorn has on Noah, the main problem with this song is it will get you singing about “giving the horn” to your liquor store clerk… If you are like me that is. AWK-WARD. For the record, the old lady doesn’t appreciate it either, especially not when I’m giving it to her hard and fast. It’s all in the timing I guess.

What’s My Emotivation? Is an Andrew W.K. Style “you can do it” style rocker, that somehow manages to take the best of Greg Sage and Josh Homme’s riffs, toss in some delicious harmonies and features a dual guitar lead by “Burgerwolf” and “Mayhem” that will easily have Phil Lynott pumping his fist from his grave.

Schizoid Jesus Lizard rocker Martyr Party is the closest thing to abrasive this album comes to, and even then it has a wonderful chorus that had me singing along for a “bottle party” until I noticed the title. I then blushed, and looked around to see if anybody caught my mistake. Consider this one the Birthday Party’s cooler cousin with the slick car that gets all the babes. I can think of a few people I would like to sing this wry rocker at.

Wherewolf?: starting off as a Federation X style creeper, this one involves Neutron spinning the classic Incredible Hulk story. Bill Bixby would be proud, as you definitely don’t want to mess with MV when they’re angry. The gloriously catchy AWHOOO chorus puts a smile on my face every time, and the epic build of the Trail of the Dead/Unwound style outro is something to behold.
Make Room For Daddy: a super intense Chavez style rocker, with Neutron pulling some crazy huge Danzig style vocals out of the back pocket. “Daddy’s coming so you’d better be aware”. It’s pretty clear “Daddy” is ready for some fun, so it’d probably be a good idea to put down some plastic sheeting in advance. M’kay?

We Enjoy Fucking (To This Music) is an honest to goodness Mike Patton (Lovage) style slow jam, with a dash of Eagles of Death Metal for good measure. In the hands of a lesser band this would have me shouting “Is that it?” but Mount Vicious has me saying “aw yeah, that’s it!”. To paraphrase Wu Tang, Mount Vicious ain’t nothing to fuck with. For this song they might be one to fuck TO, which is as awesome as being able to say the “F” word in my print zine. With any luck horny teenagers will be orgasaming into each other’s mouths to this one for many years to come.

Bass driven album closer The Long Walk, inspired by the novella of the same name by Stephen King, actually gives me chills, and could be a major bummer if it didn’t end on the, and I’m amazed to be writing this “frenzied optimism” of “Guess things didn’t work out how we wanted, that’s no reason that we can’t tear this world apart. We shall, we shall overcome! And learn to run”. Strong stuff.
It’s been a long time since an album has left me actually breathless, but this album is that powerful. Also anybody driving next to me knows how freeing it is to sing along. Yes, that’s right, I’m singing along at the red light, is there a problem with that? That’s what this album is best for! Singing along, getting tough and coming out of the whole thing happier and more excited than when you came in. This is music that eschews hipster insincerity and detachment and is unafraid to prove that rock need not be dumb as well.

Production by John “pAperchAse” Congleton is nothing short of top notch, throwing just the right amount of Bruce Dickinson style “more cowbell” and just getting out of the band’s way and letting them throw down the rock. If you love what he’s done with Modest Mouse and Explosions in the Sky, to say nothing of his own band, you will be impressed.
Mount Vicious is the right name for this band, as the majesty and intensity of these songs are matched by little else out there. They somehow manage to take all of the best elements of multiple generations of rock and roll, punk, post-punk and noise rock and wield them like a shining sword to battle the hordes of mediocrity. SHINING, I say.

Staind? Nickelback? Prepare to “get the horn” because there’s a new sheriff in town, and your reign is at an end. This is at.the.drive.in before they blew it, this is game changing territory. This is the album I wish Danko Jones would make, instead of pandering to what they think people want to hear, again and again.

Much will, justifiably, be made of the brilliant guitar interplay of “Daddy” Dre and Alli Mayhem, who might just be the modern day post-noise rock Angus and Malcolm Young and absolutely solid rock and roll rhythm section of Jet James and Dick Necklace, but I really just want to point out the brilliance of the lyrics of Conan Neutron, the man can not only sing but really turn a phrase, and considering how often that is downplayed in the world of big rock. That is laudable indeed.

This fantastic record deserves a much bigger audience then your humble author can provide. The people of Mount Vicious deserve to sleep soundly on beds of hundred dollar bills and be hand fed peeled grapes from beautiful concubines for the power of their rocking. At the very least, you may consider me a MV apostle from here on out. Amen.
-Karl Richter

* Leather Beer Caddy


Mount Vicious – Leather Beer Caddy review from Built on a Weak Spot

It was a shame to see Replicator call it quits awhile back, but like many bands that I enjoy at some point or another, the members usually splinter off and occasionally you get all new projects to fall in love with. As is the case with Conan Neutron & Chris Bolig (or known here as Rick Necklace) from Replicator who have decided to start another group under the name of Mount Vicious with members that have played in various other groups such as Holy Kiss, Stay Gold Pony Boy, and City Volume.

Mount Vicious is certainly a different animal, however one that will undoubtedly rock you from start to finish. One thing that has definitely been carried over is the members’ sharp sense of humor, which reveals itself very quickly through song titles and most notably the lyrics found on their recently self-released Leather Beer Caddy EP. While it certainly has the bounce and energy of many of post-punks past luminaries, they also manage to channel a bit of the swagger of The Jesus Lizard while rubbing it all down with a bit of Cows/Heroine Sheiks inspired filth. That’s just some sort of frame of reference though, listen to some of tunes for yourself. Whatever the band has come up with here, it’s a wonderful concoction of rock that I greatly look forward to hearing more from.

In the meantime, for those searching for more tunes by these guys, they are serving up their Leather Beer Caddy EP for free on Bandcamp. If you’re interested in obtaining higher quality files, throw a few dollars down and they are yours. Either way, grab it if you dig what you hear. The band has recently finished recording for a full-length that they expect to have out in August and should be ready for pre-sale in late June. So definitely keep checking the bands website for more.
-RKF

Mount Vicious – Leather Beer Caddy review from Dead Angel

This is not, technically speaking, a real and formal introduction to this Oakland “supergroup” featuring current and former members of popular Bay-area bands like Replicator, City Volume, Cold War, and The Long Thaw (among many, many others) — these are current versions of five songs scheduled for eventual release, in different form, on the band’s impending full-length debut. They recorded these songs and issued this ep (with only fifty copies available on cd-r; everybody else can download the tracks on the band’s web site) to give people an idea of where they stand right now, musically speaking. Not surprisingly for such a high-energy outfit, they’re impatient and want to bring the rock to you RIGHT NOW. And this they do, with much flair. Their songs are a weirdly distinctive amalgamation of classic, mainstream Big Rock and spazzed-out postmodern math rock, heavy and catchy and baroque all at the same time, with big riffs and squiggly guitar lines over a monster rhythm section. If you’ve heard Replicator — particularly the material they were doing at the tail end of their existence — it’s not difficult to see this as the natural progression of that aesthetic, but the material here is a shade closer to anthemic rock and, while still plenty complex and proggy, not quite so totally mired in the obscure rhythms of math rock. I haven’t heard any of the other bands germane to the members of the band who weren’t in Replicator, so it’s hard to guess what they bring to the table, but the sum of the parts is certainly exciting. The emphasis on guitar frippery (there are three guitar players, offering plenty of opportunity to get some really rocking polyrhythmic six-string action going) definitely works for me. They’re certainly off to a promising start with songs this good and playing so energetic.

-RKF

* Axis of Awesome ep

Jason Myers, author: Exit Here

I was thirteen years old the first time I heard a band, music, that shook me so hard down to my core that I was left feeling like the wind had been knocked out of my skinny ass frame. The first time a band had put me in such a state of beautiful frenzy where it felt like I’d been punched in the face and was left seeing stars spinning furiously around me, encompassing my entire world.

Thirteen was the first time I heard Black Flag and The Minutemen and N.W.A. in the span of one week, a week that would upend my life and change the way I thought about music. In short, it was one of the greatest things that ever happened to me. A lot of time has passed since that week and now, and in between there have been bands who have tweaked the tip of that of that initial state of What the Fuckedness, I felt all those years ago. But it wasn’t until I stumbled across a four song E.P. by the bay area’s Mount Vicious that those exact feelings and emotions which had struck me so hard when I heard, Rise Above or History Lesson Part II or Fuck the Police, all came back smashing back into me leaving me sucking air from my ribs.

From the opening riff of Steroid Unicorn all the way to the last drumsmash of What’s My Emotivation?, Mount Vicious lays waste to any theory that music is no longer capable of striking an emotional chord so deep that it rattles your immediacy into rubble. Because that’s what this music does. It shatters your fucking world. Combining incredible musicianship with disgustingly ill lyrics, Mount Vicious turns music on its head and slices it open reminding us why we fell in love with music in the first place.

And for the first time in since I was thirteen, I feel shook to my core being again, rattled to the brink of disbelief, and in essence, I feel like I just heard disturbingly great music for the time and nobody can fuck with that!”