Mount Vicious

Let’s be clear, alive or dead, Mount Vicious WILL rock you.

Hailing from San Francisco and Oakland, with gigantic riffs, cutting bass, powerful drumming, intense vocals, and an unrelenting and urgent stage show — Mount Vicious had what you needed, and still need.

Informed by classic rock as much as post-punk and noise rock, the bombastic intensity and power in Mount Vicious is palpable. Sit too close to your speakers and you might end up bruised or pregnant. Mount Vicious didn’t just play rock, they WERE rock.

Imagine Queens of the Stone Age covering Bon Scott-era AC/DC and The Minutemen, or the Eagles of Death Metal playing the Misfits and The Birthday Party — you’re on the right track, but still only getting part of the story.

You do not, however, need a fancy record collection to enjoy Mount Vicious. The immediacy shines through.

Their album, Don’t Be a Baby, Come and Get It, was recorded at San Francisco’s famed Tiny Telephone studio by producer John Congleton (the paperchase, Explosions in the Sky, Modest Mouse) and mastered by Bob Weston (Nirvana, Mission of Burma, Polvo) at Chicago Recording Company. Every element of the swaggering Mount Vicious rock and roll monster was been captured on this recording: block rocking
anthems like “Princess of the Brodeo”; stadium-ready guitar heroics of songs like “Skin Flautist”; moody pieces like “The Long Walk”….

Give it a listen — you will be howling along to “Wherewolf?” and preparing to get the horn from the “Steroid Unicorn” in no time at all.

Don’t Be a Baby… is a perfect reminder of the vital live show they provided in their all too brief run, leaving it all on the stage in a brash set of soloing, shredding, sweat, and singing that left you completely entertained and hungering for more. Fist pumping, sing alongs, and rock and roll majesty are the orders of the day, and the fun they had is as contagious as any pandemic.

Mount Vicious will rock you, and they are also very good at sex.

So, Don’t Be a Baby, Come and Get It.
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