The King Cheetah
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The King Cheetah

Los Angeles, California, United States | INDIE

Los Angeles, California, United States | INDIE
Band Alternative Punk


This band has not uploaded any videos
This band has not uploaded any videos




Gary Schwind
Orange County Music Examiner
Sometimes the best musical finds are the serendipitous ones. Take The King Cheetah, for instance. My introduction to this band came after posting my review of Thee Gravemen. And I’m glad I was introduced.

The Museum of Tolerance (Clearcut Records, 2011) begins with the title track, which features guitar reminiscent of Clutchand the raw energy of Iggy and The Stooges. This song announces that this band doesn’t so much write songs as sonic kicks to your earhole.

And if you like that one, just wait until you hear “5th of 10?. It rocks just as hard. This four-song (one song is only 52 seconds) EP is real simple. (And let’s face it. The simple way is often the best.) It is three songs of hard-driving rock and roll that will make you want to pump your fist. It is very brief, but this is a good introduction to the band and a good first release for the album. If you have a playlist that you use when you work out, add this EP to it. - Orange County Music Examiner


The King Cheetah, a rock ‘n’ roll trio from Los Angeles, puts out a four-song EP that explores a new sound. They create a wall of sound that flips between the raw power of rock ‘n’ roll and more melodic passages as the lead singer appropriately repeats in the title track “I am a war maker and a natural man”.

NG - Big Cheese Magazine

"The King Cheetah – ‘Museum Of Tolerance’ EP"

Based in Los Angeles this East London three piece have managed to knockout this here E.P. and still keep us folks back home at the front of their minds.

Lead Track ‘Museum Of Tolerance rushes out of the speakers on a fuzzed out Hendrix fuelled flood of distorted guitar and jazzy backbeat and we’re immediately down to business. The opener sounds angry and certainly more than just a little peeved at something or other, and through the power of music the Kings manage to kick up a decent stink “I am a war maker” – indeed you are sirs.

Onto track number two and ’5th Of Ten’ ushers in another slab of frantic riffing and some scattergun grooves towards the chorus of sorts. This is a pretty decent song that stutters and jars it’s way into your bonce. As to what the song is actually about I haven’t the faintest idea but fear not the overall picture is interesting and very, very listenable.

Sadly the same can’t be said of track three ’15.2.42' as it’s a fleeting interlude of a soundscape clocking in at a mighty 52 seconds, although we are are soon back on track with the final track ‘Victoria In Reverse’ with it’s stumbling rhythm and brooding bass line coming on like a primetime Jane’s Addiction jam. This is possibly the pick of the E.P. for me, and on the strength of the 3 full-length songs here The King Cheetahs are a band I’d definitely like to investigate further.

How about flying me over to Los Angeles for an interview exclusive then eh? - Uber Rock

"Track Of The Day: The King Cheetah"

Los Angeles based band The King Cheetah are about to release an EP. They provide the latest Track Of The Day. Check out all Tracks Of The Day here.

The trio were actually started in London during 1996, by guitarist Robert Paul Mune and drummer Simon Hancock. They collaborated with Maxim from The Prodigy on a rewrite of his song Schemin, before relocating to America.

In 2005, The King Cheetah released the EP Six Inch Killaz, before releasing their self-titled, debut album. Subsequently, they also did the soundtrack for the movie In Heaven There Is No Beer, which also features the band performing.

Last year, bassist Ray Pillar joined the band, and on December 5 they release the EP Museum Of Tolerance on the Clearcut Records/Western Outpost label. You can see them live in London at the Dublin Castle on Friday, December 2.

So, what do TKC sound like? Aggressive, angry, thrashing post-punk, that’s what.

Now you can download the song 5th Of Ten for free right here.

Find out more at the same website. - Classic Rock Magazine

"The King Cheetah at the Echo, March 1, 2005"

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.

—Paul Rogers
- LA Weekly

"Skratch Live Review - Dec 9, 2004"

The weekly Kiss or Kill lineup is rarely cohesive—which is a GOOD thing, because you're never going to see four bands which sound the same. This principle was underscored by the first band I caught at this show, The King Cheetah. They dove into their first song, and it was the first time in a while I'd been so impressed with a band I'd never heard of. I thought to myself, "They have a sorta British sound," and then patted myself on the back later when I learned that they were, in fact, from England. I'm so fucking perceptive. Anyway, British modern rock with a post-punk influence. Definitely one of the better bands I've seen in a while, so keep your eyes open for these guys.

- Jeff Penalty - Skratch magazine

"This U.K. threesome packs a punch, July 2005"

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.

- J. Wallace

"King Cheetah LP review, July 2005"

THE 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.

-H. Barry Zimmerman - Skratch magazine


England I Forgive You EP (April 2012)

Museum Of Tolerance EP (Dec 2011)

Current tracks receiving airplay: Museum Of Tolerance; Victoria In Reverse; 5th Of Ten

2nd album - project shelved (recorded between 2007 - 2010)

The Six Inch Killaz ep (November 2004)

The King Cheetah lp (May 2005)

US Network TV show ' Jack and Bobby' - 2005 (Victoria in Reverse)

Kiss or Kill compilation volume 2 - 2005 (5th of Ten)

Kiss or Kill compilation volume 1 - 2004 (Victoria in Reverse)

The King Cheetah live in Yuma - 2002 (limited release sold on Morrissey tour only)

'Scheming' by Maxim (Prodigy) - 2000 (second disc of two disc edition)



The King Cheetah are a Militant Rock ‘N’ Roll, Raw-Power-Trio, based in Los Angeles, CA. They play beautiful, angry, life-affirming, positive music. They are at the top of their game musically and spiritually. SEE THEM, HEAR THEM, BEAR WITNESS – if you love music, you deserve it.

Formed by Robert Paul Mune and Simon Hancock in London in 1996. They generated the anti-Britpop backlash by creating the mixed-gay Kitsch Bitch club night which deliberately championed music that transgressed Britpop’s narrow and bigoted perspective.

Approached by Maxim of Prodigy to collaborate on a rewrite of his tune ‘Schemin’ which via extensive radio play brought them to the attention of Madonna whose Maverick label were looking into signing Maxim. Despite interest from XL Records who had played King Cheetah’s recordings to their newly signed White Stripes … a new game was afoot … America beckoned.

Morrissey chanced upon the band playing a show at a small venue in Hollywood. He approached the band after the show whispering: ”I love all of your songs, they’re fantastic!”. A few months later the band joined him as support for his entire US tour; which saw them spending nights sleeping out in the desert, in the woods, and on haystacks. Shortly after the tour finished King Cheetah lost bassplayer Gavin Jay who returned to London and subsequently joined up with the Jim Jones Revue.

Signed to LA’s Queercore label Spitshine in 2005, TKC released the ‘Six Inch Killaz’ EP. A tribute to notorious ‘drag wall-of noise‘ band The Six Inch Killaz who were firm friends from London days. TKC played many shows at The Motherlode in West Hollywood (‘Boys Town’) and also at the Homo-a-Gogo Festival in Olympia, Washington; where the band played with The Gossip and made friends with one of their heroes: John Cameron Mitchell (‘Hedwig‘ of ‘Hedwig and the Angry Inch’).

TKC – being seasoned studio designers/builders – built their own temporary recording facility in an abandoned warehouse in the Los Angeles industrial suburb of Vernon (population 21, including Banksy). There they self-recorded and produced their debut album ‘The King Cheetah LP‘. During this period The King Cheetah also became one of the keystones of the nascent ‘Kiss or Kill’ scene. This scene has now been documented in the indie movie ‘In Heaven there is No Beer‘, which features performance, soundtrack and interviews with The King Cheetah.

Throughout 2010 The King Cheetah played as a duo, before being recently joined by Ray Piller on bass. The King Cheetah always inspire awe and respect from audiences and fellow musicians, for their unique song-writing and the sonic construction of their live sound. With Ray creating melodic feedback on the bass whilst Rob chugs bass-lines on the guitar, they have surpassed themselves, swapping the traditional roles of their instruments and exploring new concepts in audio dynamics. By day they construct recording studios, by night they construct the soundtrack to an unwritten future…

This is just the beginning , many more sonic, social and spiritual adventures await The King Cheetah.


“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.”

“The King Cheetah don’t sound like anybody else, yet many have tried to sound like them … although no artist has yet managed to credibly emulate what they found inspiring about TKC, several have achieved great commercial success in trying”

“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.”