Geese's fourth studio album, ‘Getting Killed,’ is both unruly and clever, solidifying the band's status as one of the leading rock acts of their generation.
Stream: ‘Getting Killed’ – Geese
If you've interacted with anyone in the age range of middle school to college recently, you may have noticed a peculiar trend in language: Young people seem to have adapted to the algorithms of short-form video platforms that supposedly penalize the use of certain taboo words.
The result is a rather sad and sanitized vocabulary where “corn” stands in for “porn,” “seggs” is used instead of “sex,” and the term “unalive” has come to mean “kill” or “die.” This development is frustrating and represents a troubling advancement in technology's influence over human expression.
I guess Geese didn’t get the memo. The Brooklyn-based indie band—composed of Cameron Winter, Emily Green, Max Bassin, and Dominic DeGesu—not only used the word “kill” in their fourth album, ‘Getting Killed,’ but also made it the title. Whether intentional or not, this choice perfectly encapsulates their philosophy: they are too committed to their art to engage in self-censorship. The new record acts as a stylish middle finger to puritanism and the push for palatable content, reminding us that themes of blood and sexuality still have a place in public discourse.
Released via Partisan Records, ‘Getting Killed’ follows Geese’s 2023 sophomore album, ‘3D Country.’ That record was an exhilarating, chaotic foray into proggy art-rock, while their latest effort takes a somewhat different approach. This new collection is slightly more radio-friendly, striving for a more traditional melody and softer sound, with the exceptions of tracks like “Trinidad” and “100 Horses.”
It's understandable that this album leans towards accessibility: Following the widespread acclaim of frontman Cameron Winter’s solo debut, ‘Heavy Metal,’ last December, Geese now has more attention than ever. While they’ve traded some raw post-punk energy for greater control, this decision creates an intriguing tension between bright melodies and darker themes.
Sonically, ‘Getting Killed’ offers plenty to be excited about. It has a somewhat through-composed structure, featuring production by Kenneth Blume (better known as Kenny Beats), who adeptly carves out sonic space among the layers of instruments and vocals. The result deviates from the monotonous wall-of-sound production that often afflicts mainstream indie rock today. “Trinidad” bursts forth as a chaotic and beautiful song, while “Husbands” begins slow and tentative before building into a rich, cathartic experience filled with claps and syncopation.
My favorite track from the album, “Half Real,” opens with a droning melody reminiscent of a sitar, evoking the beginnings of a Satyajit Ray film, and evolves into a sardonic love song. In the final 20 seconds of the closer, “Long Island City Here I Come,” drummer Max Bassin delivers such an energetic performance that it could likely power an office building for an entire week.
The lyrics also challenge top 40 clichés, presenting an oblique worldview akin to that of Cohen or Waits. Lines like “I’ve met angels so deep undercover that they’d sit on Solomon’s throne” and “all people must dance in times of war” create a vivid literary landscape filled with soldiers, sailors, snakes, danger, bells, and gumball machines.
“I’ve got half a mind
To just pay for the lobotomy
And tell ’em, ‘Get rid of the bad times
And get rid of the good times too
I’ve got no more thinking to do’”
– “Half Real,” Geese
Yet, it's Winter’s vocal performance that serves as both the backbone and whirlwind of the album. He shifts between a baritone reminiscent of a teenager on klonopin and fierce howling. His vocal range is extensive and unpredictable, often compelling me to tilt my head back and close my eyes.
At times, his voice takes on a nasally sneer. He floats, moans, and emphasizes unusual phrases, showcasing his talents as a true showman, embracing affectation and allowing a sense of anxious desperation to seep into his performance, reminiscent of icons like Robert Smith and Plant.
On ‘Getting Killed,’ Geese’s influences are evident. The band appears to be well-versed in a wide range of musical styles and thankfully avoids the pitfall of mere imitation. There are no pastiche costumes here. Although the album may not always reach the chaotic heights of its predecessor, it demonstrates the band’s remarkable ability to absorb their new wave, post-punk, prog, and indie inspirations and reinterpret them in their unique voice.
The result is undoubtedly one of the most captivating albums of the year
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Geese's fourth studio album, 'Getting Killed,' is both chaotic and astute, solidifying the band's position as one of the premier rock acts of their time.