The Dead C’s second album, Eusa Kills, might be the closest they came to making a ‘rock album’, though they might be singularly unimpressed to think so. It’s certainly the most coherent on normative terms, which has never been The Dead C’s playbook. That’s also not to suggest it doesn’t have the usual early Dead C detours into disassembled song and formative noise; they’re just playing with a swagger that suggests garage punk through a foxing haze, as on the opener “Scarey Nest,” where an unrelenting two-note phrase naggingly rides a two-chord stomp. Songs like “Maggot,” though, hint at where the group were heading – further out, slowed down, blurred and obscured.