Geese: Cult Favorites

      Emerging initially during the lockdown with their brand of frenetic, chaotic rock and roll, Geese, based in New York, have exploded onto the scene by performing exuberant secret shows and causing traffic disruptions in Brooklyn within just a few years. Their latest album, the ambitious and experimental 'Getting Killed', further solidifies their place in the spotlight.

      "I thought my solo album had flopped," admits Geese's frontman, Cameron Winter, referring to 'Heavy Metal', his debut solo release. Released at the end of last year, it certainly didn’t flop; critics described it as “casually virtuosic” and compared it to Astral Weeks, with even Nick Cave calling it “a racked and wondrous thing.” However, Winter didn’t rest on his laurels. A few months later, Geese announced 'Getting Killed' and released 'Taxes', its jangly indie-pop lead single, which is a stark contrast to his solo work. It's safe to say 'Heavy Metal' significantly changed the trajectory for Cameron and his bandmates—drummer Max Bassin, guitarist Emily Green, and bassist Dominic DiGesu. They were already well-regarded prior to this; their earlier albums were produced by Dan Carey and James Ford, known for their high-caliber collaborations. Their debut, 'Projector', introduced their post-rock style, blending Strokes-like melodies with intricate time signatures. In hindsight, their second album, '3D Country', offered an early indication that the band was evolving, weaving in Americana influences alongside unusual, frenzied narratives reminiscent of a Western film. Thus, there was considerable pressure surrounding 'Getting Killed'. Live shows sold out well ahead of the album's release, with the three singles hinting at various directions the album could take. However, Winter and his band have exceeded expectations. In their latest work, they engage in a delightful game of cat-and-mouse, showcasing exquisite songwriting while simultaneously obscuring it with unpredictable and captivating twists. Constantly inventive, they seem poised to fill the gap left by bands like black midi; their music navigates a spectrum from jam band funk to intricate guitar work reminiscent of 'In Rainbows', alongside free jazz breakdowns, all anchored by Winter's unique gravelly vocals—sometimes soft and other times intense.

      Just days after the album's release and back in their hometown, DIY spoke with Winter and Bassin. They had just hosted a free event in Brooklyn, surrounded by a street full of fans enthusiastically singing along to the lyrics of 'Getting Killed'. "We didn’t expect it to be so wild," Bassin exclaims excitedly, contrasting with Winter's more reserved demeanor. "It felt reminiscent of The Beatles’ rooftop performance—except we were on the street with a few folks up on rooftops who had paid for gym day passes just to hang out. Crazy."

      Winter remains modest when discussing the show and album's release overall. "Yeah... pretty good," he says, lacking enthusiasm. It's important to note that Cameron isn’t recognized as the most straightforward interviewee. He often views press interactions as extensions of his quirky lyrics, occasionally fabricating details (he once claimed a five-year-old played bass on 'Heavy Metal') and taking long pauses to gather his thoughts. Speaking via Zoom from a café, he reflects on initially seeing his solo album as a failure because of its slow start. This perspective influenced 'Getting Killed', driving him to aim for "a version that’s louder and less... sleepy" with the band.

      Nonetheless, he remains puzzled by his and his band’s newfound success. "I don’t know how or why, but people began to appreciate it more, which seems to have led to a broader acceptance of us than before," he muses. "Previously, people would think, ‘these guys don’t know what they’re doing!’ but now they seem more willing to join the bandwagon." It appears that Geese are primarily unaffected by external judgments of their work and hold themselves to high standards instead. "I guess we get bored; we’re overly self-conscious about certain aspects. We don’t want to repeat ourselves because it’s embarrassing for us." So what were they pursuing with 'Getting Killed'? "A big part of what we aimed for was groove," notes Bassin, echoing a drummer's viewpoint. "We delved deeply into free jazz and some funk. It came full-circle; we listened to lots of proto-punk that drew influence from various funk and jazz elements." Much of the album, including the driving pulse of 'Islands of Men’, adheres to jazz structure rather than traditional song formats. Bassin describes it as "playing around with a groove that feels almost endless."

      This time around, the band collaborated with producer Kenny Beats, also known as Kenneth Blume, a former hip-hop producer who has evolved into one of rock and pop's most adaptable studio talents, having worked with diverse