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Description
2022-2025 Toyota Tundra 2-3.25 Inch Lift Stage 3 (Trd) 3.0 Suspension System Tubular CDXS Icon Vehicle DynamicsThe ICON Vehicle Dynamics Stage 3 3. 0 complete suspension system for the 2022 2025 Toyota Tundra builds upon the Stage 2 3. 0 suspension system with the addition of triple rate rear coils springs and an adjustable rear track bar. To compliment the coils and track bar 3. 0 Series CDXS front coilovers are included along with tubular steel front upper control arms, a billet rear upper lower link combo, a front sway bar drop kit, and 3. 0 Series CDXS
The ICON Vehicle Dynamics Stage 3 3.0 complete suspension system for the 2022-2025 Toyota Tundra builds upon the Stage 2 3.0 suspension system with the addition of triple rate rear coils springs and an adjustable rear track bar. To compliment the coils and track bar 3.0 Series CDXS front coilovers are included along with tubular steel front upper control arms, a billet rear upper/lower link combo, a front sway bar drop kit, and 3.0 Series CDXS rear shocks.
This system offers improved on- and off-road performance with adjustable compression damping, as well as improved alignment specs and increased front-end lift height range for a proper stance and fitment of up to 35 Inch tires.
Features and Benefits:- This Stage 3 system features the 2022-2025 Toyota Tundra VS 3.0 Series remote reservoir front coilovers equipped with CDXS. These adjustable coilovers allow up to 2-3.25 Inch of lift height adjustability over stock when using the ICON tubular front upper control arms, allowing the use of larger, more aggressive wheel and tire combinations. The larger 3.0 Series shocks offer 50 Percent more piston surface area in the ride zone of the shock's travel, and 100 Percent in the InchBump Zone Inch, compared to 2.5 Series shocks. The multi-stage hydraulic Bump Zone exponentially increases bottom-out resistance as the shock travels through the last 40 Percent of travel, keeping vehicle dynamics in check during those hard hits or unexpected obstacles. These coilovers also feature ICON's exclusive Compression Damping Dual Speed (CDXS) valves for precisely dialing in your suspension performance. CDXS controls fluid flow under compression, with independent adjustability of high speed and low speed compression force. 10 discreet detented settings for both low and high-speed adjustment knobs allow separate adjustments for handling response and overall aggressiveness. Additionally, ICON's Vehicle-specific shock length yields the maximum travel possible (up to 40 Percent increase over stock), all translating into increased stability and vehicle control at the extremes of off-road use, with benefits also making themselves apparent in on-road driving conditions.
- The included ICON tubular upper control arm kit is designed to improve the overall performance of the new 2022-2025 Toyota Tundra with corrected front-end geometry, built in additional caster, and improved suspension component clearance. Additionally, replacing the OE ball joint with the all-new, serviceable, and rebuildable ICON Delta Joint PRO allows for full bump and droop travel of the front suspension while eliminating bind.
- The included sway bar drop brackets help minimize sway bar link bind through the suspension travel range. This helps the suspension move more freely and allows for the full range of wheel travel without overstressing any OE components.
- The rear triple-rate coil design provides a softer droop and ride rates with a firmer overload rate that combine to deliver on-road comfort with excellent bottoming resistance and superior off-road performance. Specifically designed to net .75 Inch of rear lift on a Tundra equipped with a TRD suspension package or 1.25 Inch of rear lift on a non-TRD Tundra desiring taller rear ride heights.
- ICON tubular steel adjustable rear upper and lower links are made from 1-3/4 x .313 wall DOM tubing and a multi-stage black powder coat finish for corrosion resistance. These rear link arm kits feature PTFE-lined FK rod ends for increased suspension articulation, reduced deflection, and link arm length adjustability. Additionally, multi durometer bushings are installed that allow for noise free operation and maximum angularity without the need for periodic greasing and/or other maintenance.
- The ICON Billet Rear Adjustable Track Bar helps center the axle of your lifted 2022-2025 rod end threads allows easy Inchon-vehicle Inch fine adjustment of track bar length without requiring removal or disassembly of the track bar. The track bar is CNC machined from solid 6061 aluminum bar, and anodized to match the look of ICON's billet upper and lower links.
- Rounding out the Stage 3 suspension system are 3.0 Series rear remote reservoir shocks specially tailored for the 2022-2025 Tundra to yield 20 Percent increase in wheel travel over stock. 3.0 Series shocks also boast 50 Percent more piston surface area compared to 2.5 Series shocks, offering outstanding performance off-road and a smooth ride on the street. Increased internal oil volume and more external surface area compared to 2.5 Series Shocks, plus their remote reservoirs, offer even greater heat dissipation and resistance to shock fade under hard use. Also equipped with CDXS, these offer 10 settings of low and high speed compression damping adjustment from soft to hard. Their pairing with the ICON V.S. 3.0 Series CDXS front coilovers results in balanced vehicle control from front to rear and an excellent overall driving experience for your Tundra.
- Vehicle specific design for 2022-2025 Toyota Tundra
- 3.0 Series front coilovers with ICON's multi-stage, tunable hydraulic InchBump Zone Inch
- Adjustable front ride heights from 2-3.25 Inch of front lift over stock when used with included tubular UCAs
- All shock absorbers equipped with ICON CDXS for independent adjustability of high speed and low speed compression force for handling response and aggressiveness
- Tubular UCAs for added strength, durability, and alignment correction for better drivability
- UCAs feature the patented (U.S. Pat. 10,731,700) Delta Joint Pro with 90 degrees of total articulation
- Included sway bar drop brackets reduce bind in OE sway bar links
- Allows for up to 40 Percent increase in front wheel travel over stock without overstressing OE components
- Tubular rear upper and lower links improve rear end articulation and allow for pinion angle adjustment
- Triple rate rear coil springs improve performance and ride quality while providing .75 Inch of rear lift (TRD models)
- On-vehicle adjustable rear track bar properly centers rear axle while also improve rear suspension performance
- 3.0 Series rear remote reservoir shocks provide maximum performance, 20 Percent increase in wheel travel, and balanced tune with coilovers
- All ICON shock absorbers are fully rebuildable and re-tunable
- Active Or Passive Suspension: Passive
- Adjustable Compression: Yes
- Adjustable Control Arm: Yes
- Adjustable Damping: Yes
- Adjustable Rebound: No
- Bushings Included: Yes
- Coil Quantity Front: 2.0
- Coil Spring End 1 Type: Closed
- Coil Spring End 2 Type: Closed
- Coils Quantity Front: 2.0
- Coils Quantity Rear: 2.0
- Damping Adjustment Type: Dual Speed Manual
- Front Reservoir Style: Remote
- Front Shock Body Diameter: 3.0
- Front Spring Rate Type: Linear
- Grade Type: Performance
- Maximum Lift: 3.25 Inch
- Maximum Lift Front: 3.25 Inch
- Maximum Lift Rear: 1.25 Inch
- Minimum Lift Front: 2.0 Inch
- Minimum Lift Rear: 0.75 Inch
- Mounting Hardware Included: Yes
- Rear Reservoir Style: Remote
- Rear Shock Body Diameter: 3.0
- Rear Spring Rate Type: Progressive Triple Rate
- Reservoir Style: Remote
- Shocks Included: Yes
- Spring Color: Black
- Spring Material: Steel
- Add On Part: 55153 - 22-25 Tundra/23-25 Sequoia Air Ride/Auto Headlight Bracket Kit, 191014 - .25 Inch Collar Spanner Pin Wrench, 252012 - -4 To -10 Hose Shield Kit, 55164 - 22-25 Tundra/23-24 Sequoia Aluminum Skid Plate Spacer Kit, 198001 - Billet Spanner Wrench Kit, 191010 - Icon Raptor 3.0 Coil Wrap W/Logo Pair, 191013 - Nipple Greasing Adapter Kit, 198000 - 2 Pin Coilover Spanner Wrench Kit, 55156 - 22-25 Tundra/23-25 Sequoia/24-25 GX550 Diff Drop Kit
Shipping Notes
- Free Standard Shipping on $100+ Orders to the USA.
- Except Preorder products are shipped in 48 hours.
- Delivery to the USA:
- Standard Shipping : 3-10 business days
- If time is of the essence, please consider selecting expedited delivery for faster service.
Exchange/Return Notes
- We offer a 30-day return/exchange service after receiving.
- Final sale items are not eligible for returns or exchanges.
- To process your return/exchange, please contact us at [email protected]
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4.5 ★★★★★
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Product Reviews
★★★★★ 5
Get it!! You won't regret it
I don't know what to say but if you are considering buying this,do so... I've been using it a little bit over a week and to be honest I have used all kinds of makeup and lotions and I was never impressed even with experience brands,
This stuff I'm already noticing a difference in wrinkles and it's so soothing.
Just buy it and try it for yourself,
I'll definitely be buying more
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Reviewed in the United States on August 27, 2025
★★★★★ 5
Hydrating
New fav. My teenager loves it
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Reviewed in the United States on January 10, 2026
★★★★★ 3
It’s okay
I use it for a month. I saw no difference. It does give you a glow for a few minutes and it does hydrate. No scent and it didn’t break me out.
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Reviewed in the United States on March 19, 2026
★★★★★ 5
Good
Good
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Reviewed in the United States on January 22, 2026
★★★★★ 5
Fractured pop art masterpiece
Walker (Lee Marvin) and Mal Reese (John Vernon) stage a robbery, stealing a bag of cash from some crooks conducting a delivery by helicopter in deserted Alcatraz. Reese double crosses Walker and leaves him for dead, taking off with the cash and Walker's wife. Walker survives, escapes from the island, and comes after Reese, and all the rest of his criminal organisation, with the mantra, "I want my $93,000."
On this third or fourth viewing, I was struck less by what an exemplary action film this is (Marvin, the hardest man in the history of the movies, was at least as mean and relentless in The Killers), and more by how deeply artiness is infused into its structure and design. The recurrent flashing back and forward in time, especially at the start between the planning - not in the traditional meticulous heist film set up, just a series of fractured, barely linked brief meetings and conversations - and the robbery, but also Walker's thoughts returning to his betrayal, feed the predominant critical interpretation that Walker was fatally wounded on Alcatraz, and the whole film is his trying to process this and his fantasy of revenge. Boorman addresses this directly in the commentary, to the extent that he refuses to commit and says it's intended to be ambiguous. I'm now firmly in the dying-flashback camp, because of Walker's almost magical powers. (On reflection, it's like the question of whether Deckard is a replicant - you can enjoy debating it and looking for clues, but in the end the answer is yes.) He appears in new scenes and locations with no evidence of having travelled, and generally in a spiffy new outfit (more of this later) despite carrying nothing but his revolver, and, particularly in the central sequence, he evades being apprehended either by coincidence (the lift he's in opens and closes while the baddies waiting for the same lift are distracted by a commotion) or by the sheer application of cool (waiting immobile but scarcely invisible in an underground car park while his pursuer is gunned down by police). He also has an advisor/mentor, played by Keenan Wynn, who pops up in scenes like a cartoon character (he looks like a sort of dome shaped, bristle headed man in a suit who might appear in Ren and Stimpy) and gives Walker his next mission, while the two of them assiduously avoid eye contact as if one or both aren't really there.
From Walker's re-emergence in the first of a series of natty suits, Point Blank is constructed as a series of set pieces. The first is the oddest, continuing the flashbacks and playing with chronology. Walker is seen striding intently down a corridor, and we hear the sound of his footsteps over a series of scenes of his meeting his wife, and the two of them sharing innocent good times with Reese. He confronts his wife, fires six shots into her bed before realising Reese isn't there. A scene later, she's dead after an apparent overdose. A scene after that, the body is gone, the apartment is bare, and Walker has boarded himself inside. Did Walker even see his wife? Had she died already? A messenger arrives from whom Walker extracts a name, and he's off chasing the next link.
Walker meets care dealer Big John, whose yard has enormous signs in a jazzy '50s font. He asks for a test drive, buckles his seatbelt, and smashes the car between pillars (c.f. The Driver) until John spills the next name.
The most self-consciously art-directed scene follows, in which Walker visits a nightclub which features both a bikini-clad go-go dancer and a trio playing something between jazz and James Brown. Tipped off by a flirtatious waitress that he's being followed, he ducks behind the stage, and fights two baddies while giant faces are projected on a huge screen behind him. In a moment that suggests Tarantino watched this while writing Inglourious Basterds, Walker pulls down a rack of celluloid canisters to trap one pursuer, and then returns things to some kind of action movie orthodoxy by subduing the other one with a haymaker to the groin.
In the centrepiece, Walker meets his sister-in-law Chris (Angie Dickinson). Grief and his mission of revenge don't mean he misses the chance to share her bed, and emerge, manhood serenely unthreatened, in her borrowed yellow shortie robe. The colour scheme gets turned up to 11 at this stage, with Walker in a mustard shirt-sports jacket combo (his outfits get truly creative whenever he's bedded Angie - later, he sports a shirt somewhere between salmon and ruby grapefruit - which I guess is the wardrobe equivalent of Joseph Gordon Levitt's post-coital dance routine in (500) Days of Summer), Angie in a rockin' yellow shift dress and matching '60s mid-length coat (let down soon after by wearing something striped like a bee), and Reese in a light tan, crushed velour t-shirt that might be the least flattering male garment in cinema until Borat's mankini. Walker even finds a sightseeing telescope painted lemon yellow, which he casually dislocates from its moorings to scope out Reese's penthouse lair.
Once Reese is dealt with, the movie shifts into an early example of crime-as-big-business. Reese's boss is Carter, whose sleek Mad Men-style office and threads are matched by his resemblance to that series' Ted. According to IMDb, Lloyd Bochner, who plays Carter, was doing voice-over work from age eleven, and between him, Vernon's baritone (you know how it sounds - like Dean Wormer: "Fat, drunk and stupid is no way to go through life, son."), and Marvin's basso profundo, there's a meeting of male voices unmatched until, say, Brideshead Revisited.
Around this point the architecture of LA attracts more and more focus, both modernist glass towers and the concrete culvert of the LA River, where a sniper lurks who might have inspired the climactic shooter in Get Carter.
The commentary is conducted as a dialogue between Boorman and Soderbergh, who, if you've seen this, early Nic Roeg (Performance and Don't Look Now), and were already acquainted with the colour yellow, seems less original than he otherwise might. He has the decency to open by talking about how many times he's stolen from Point Blank.
He's not the only one though. Point Blank deconstructs and toys with the action film as knowingly as anything in the 45+ years since, up to and including Archer and the entire oeuvre of Shane Black. Just when it's in danger of becoming too clever to be satisfying as a genre piece, it gets your attention with a pistol whipping, a punch to the groin, or the rarely-shown actual end result of the villain-takes-a-long-fall thing. And of course there's Marvin, who, whether dressed like a dandy, wearing a robe, or looking baffled when the next corporate criminal explains that they just don't have $93,000 to hand over, can't be beat. Seriously, you're not obliged to love it, but you have to see it at least once.
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Reviewed in the United States on May 3, 2014
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