“They teeter on garage, psychobilly, and CBGB’s golden era. They’re a throwback and homage to drive-in monster movies, dimly-lit back-street theatres and the scuzziest Americana…”
With a back alley black market grease slickened sleaze, Killer Tone Jones comes out sliding and grinding. It […]
In a bleach blistered highscuzz of scorch-rattle garage, The C33s let out 3 minutes 30 of beautiful scratching and scrawl. No let up from open to end. No pause to look back ’til it’s done with. Veins throb and pulse to a pressure sustained by the purging of squalor and power.
“Clean in intent, neat in their imagery, sharp in their focus and fever… But we’re just six months in and these things need to breathe, we’re still in the shaping and smelting…”
Austin. Achingly hip and alarmingly cool. Coffee bean fetishists, thrift store hi-glam, nu-age craft ales in gleaming clean structures and retro set wide-eyed fresh faces.
Hot dog and burger bars tower their meats with all kinds of sides, only skyscrapers outside match their stature. Weed’s offered out by bar maids and waiters and I don’t feel young, pretty or thin.
I was midway through a write up of their 2017 releases when a new track came landed and knocked them away. Last year saw Victories let ‘Wiccan’ and ‘Mandy Machine’ loose on raw ears, now it’s ‘Fork in the Road’s turn to tear up. The first two are singles I dug out of Spotify. The latter a live video so far streaming only. Their catalogue backs up to 2010.
For a fact off the bat; Each release gets tighter, gets more taught and tougher. In scope and conviction, songcraft, execution. It’s a clear pitched trajectory and timeline and motion.