“Irreverent monsters in muscle cars” is how Odd Rods describe themselves. A series of trading cards by National Lampoon’s B. K. Taylor depicting various cartoonish creatures in oversized hot rods in the vein of Ed “Big Daddy” Roth’s Rat Fink. #3 in the initial ’69 set is Gee-Tee-O, an über cool green goblin with buck teeth and shades sporting a straggly beard of coarse, rodent-hair, impishly pushing his skull gear stick into full throttle, smirking as he risks death in the chase of the acceleration high.
Cars, racing and speed were initially the sole subject matter for Gee Tee when forming in 2016. A lo-fi scuzzy garage rock project fronted by Aussie Kal Mason as former band Draggs ground to a halt, Mason decamped from his native Gold Coast to dive head-first in the weirdopunk revolution happening in Sydney spearheaded by kindred mutants Research Reactor Corp. and Set-Top Box. After a string of fantastically polluted rock ‘n’ roll releases and side projects with the aforementioned R.R.C. and Drunk Mums, Gee Tee show no sign of slowing down as they drop latest EP Atomic via Italian label Goodbye Boozy Records.
An infectiously corroded little Wurlitzer melody surrounded by strutting indie riffing opens the EP on the buoyant ‘Kombat Kitchen’ a fuzzed-out flaunt of garage murk that touches on the organ-driven sounds of ? and the Mysterians. Second track “Mutant World” shoves a straw up your nose and fills your mind with coke, blood and slug pellets, a feverish and electric synthpunk stomper that Gee-Tee-O would proudly exit this world in a fiery crash to. ‘Atomic’ is a beguiling beast, some no-nonsense pub-rock chug with a scratchy vocal delivery akin to War’s Low Rider. It shouldn’t work, perhaps it doesn’t, but you’re too taken with the warbling theremin to care. Things ends on a note of pure rock ‘n’ roll zest were it soaked in sewage and radiation, a bright and upbeat bopper with a killer chainsaw solo piercing through the noxious film.
Atomic is another gloriously rancid little fucker that further cements Mason’s reputation as one of the leading figures in Aussie scuzzpunk but skilled enough to allow sharp pop-hooks in his lo-fi murk. Messy, greasy, weird, and all the better for it.