THE FUCKING CHAMPS
Traditional heavy metal • United States

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The Fucking Champs are a three-piece progressive rock band from San Francisco, California. They are known for their heavy metal appeal, based largely around shifting time signatures, guitar harmonies, and lots of rhythm. Most songs are instrumentals. They are currently signed to Drag City Records. They have also collaborated with Trans Am and the two have recorded albums together as TransChamps and The Fucking Am.

Founding Champs guitarist Josh Smith was also a member of the cult San Francisco black metal band Weakling, as well as Drunk Horse. He is currently a member of The Makes Nice. Tim Green was a member of Nation of Ulysses, Lice, The Vile Cherubs and Young Ginns. Drummer Tim Soete was the singer/guitarist of San Diego mod revivalists The Event.

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THE FUCKING CHAMPS Discography

THE FUCKING CHAMPS albums

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III
Traditional heavy metal 1997

4.00 | 1 ratings

IV
Traditional heavy metal 2000

4.00 | 1 ratings

V
Traditional heavy metal 2002

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VI
Traditional heavy metal 2007

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Greatest Hits
Traditional heavy metal 2003

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THE FUCKING CHAMPS Music Reviews

THE FUCKING CHAMPS V

Album · 2002 · Traditional heavy metal

Warthur

The Fucking Champs launch another dose of all-instrumental technical indie-metal on V, which continues in much the same vein as IV. High notes include the driving, pulsing opener Never Enough Neck, the capable cover version of Air on a G String - and, to be honest, most of the tracks on the disc. Keeping their compositions short and sweet - but no less technically impressive for it - the Champs might be a one-trick band, but it's a pretty good trick which I am happy to listen to over and over again. Recommended for metal fans who don't need lyrics to have a good time.

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THE FUCKING CHAMPS IV

Album · 2000 · Traditional heavy metal

Warthur

The Fucking Champs play an intriguing band of highly technical all-instrumental metal with plenty of influences contributing from indie rock and progressive rock, leading to an intriguing sound which is showcased to good effect on IV. The band show a remarkable grasp of the twisting time signatures they tackle, and also reveal a mastery of evoking their own unique atmosphere - one based not on the aggression or doomy melancholy much extreme metal calls on, nor on the sense of epic, soaring adventure or raw and dirty partying down that traditional/glam/power metal thrives on, but on a laid-back and cool aesthetic reminiscent of the indie rock scene the band emerged from.