Geese – Being Killed

      An outstanding record that will stand alongside the year's finest...









       25 · 09 · 2025















      It is often futile to predict when a band will reach stardom, but if you wagered on Geese this year, the odds are undoubtedly in your favor. The New York indie-rock group has experienced a rapid rise, fueled by the acclaim that followed the release of frontman and lead vocalist Cameron Winter’s debut solo album ‘Heavy Metal’ last year. The album’s commercial prospects were so uncertain that it was scheduled for a December release, which hindered initial sales but intriguingly resulted in a steady increase in streams throughout 2025, generating renewed interest that reflected back onto Geese’s latest release ‘Getting Killed’.

      Before ‘Heavy Metal’ was even released, Geese had already established themselves as a formidable presence, as demonstrated by their 2023 concept album—though not strictly a concept album—‘3D Country’. With ‘Getting Killed’, the band has benefitted further from Winters’ solo project. His voice feels more powerful, and so does the contribution of his bandmates: Dominic DiGesu, Emily Green, and Max Bassin. They also gained from the production expertise of Kenneth Blume (Kenny Beats), with whom they recorded the album over a month-long period. This partnership resulted in a sound that is cleaner and better defined, retaining complexity while clearly showcasing each element.

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      In ‘Getting Killed’, some lyrical moments are profoundly enigmatic, such as Winters singing “All the horses must go dancing” in ‘100 Horses’, or the recurring line “There’s a bomb in my car” from the opening single ‘Trinidad’. However, there is also a return to the youthful sincerity found in their first album ‘Projector’, now uniquely refracted through ‘Heavy Metal’, an album characterized by themes of catharsis and yearning. In ‘Half Real’, Winters’ quivering voice soars over lyrics expressing heartbreak and doubt, while ‘Husbands’ references the feeling of being burdened by a beloved city.

      It is certainly not an album for easy listening, and at times it can even seem quite jarring, as exemplified by the opening track ‘Trinidad’, which skirts the edge of chaotic disarray. Similar to ‘3D Country’, this is music that invites repeated listening: every listen unveils something new. Whether it’s Bassin’s intricate drumming in ‘100 Horses’, the cleverly used backing vocals in the title track ‘Getting Killed’, a flawlessly consistent bassline in ‘Islands Of Men’, or Winters’ fading voice in ‘Long Island City Here I Come’, the album is marked by meticulous attention to detail throughout its entirety.

      This is not to say that standout singles are absent: ‘Taxes’ is an infectious and cathartic rock anthem, while ‘Cobra’s nostalgic guitar lines are exceptionally engaging. However, ‘Getting Killed’ is an album meant for dedicated listeners rather than casual ones, best appreciated in its entirety rather than in individual tracks. It’s a daring endeavor and one that firmly positions the band within the future of the rock genre. This is what makes Geese’s work so thrilling: unyielding, they consistently look ahead, challenging the boundaries of their sound.

      9/10

      Words: Sasha Mills

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