In an era of ‘noise rock’ and ‘dark-punk’, New York’s Geese were a breath a fresh air. 2023’s 3D Country presented a band both drowning in their influences (particularly the Rolling Stones and Led Zeppelin) but with the capacity to perform their imitations with a ‘new wave’ vivacity, with new ideas and a new presentation, while maintaining the fundamental melodic and danceable components. They are certainly not stylistically unique (See Pere Ubu, Talking Heads, Television, early REM) but they benefit from a further 40 years of rock music history to draw from. They also benefit from a frontman with an off-kilter crooning register, whose absurdist sermons can inject a psychological quality into the band’s jamming. However, the rest is history. Getting Killed, produced by hip-hop producer, Kenny Beats, lifts them to indie stardom and places them at the forefront of (the latest) guitar-band revolution, and turns Winter into rock music’s newest prophet.
The album’s soul is taken up by the three meandering and dreamy ballads, Cobra, Au Pays Du Cocaine (which becomes their signature song) and Half Real. Songs that instrumentally recall 60s pop (particularly, George Harrison) but with a delirious, repetitive quality (that is almost reminiscent of Animal Collective) but also betray a lack of effective structure. Equally cyclical, Husbands, meanwhile is the most clear nod to Talking Heads with a limping funk-punk stomp and minimal instrumental backing behind Winter’s vocal riffing – though the chorus indicates Winter is perhaps rapidly running out of melodic ideas as he accidentally interpolates a song two tracks prior. The real highlight of these tracks is drummer, Max Bassin’s innovative rhythmic accompaniments which lend a cosmic backdrop to proceedings.
The album opens with the most misleading track – the visceral jazz-rock with schizophrenic yelping of Trinidad. Also on the louder side, the Rolling Stones fixation returns on the ‘jam’ tracks, Getting Killed, which gains an ‘ethnic’ quality in the second half (a la ‘Madchester’ bands, like Primal Scream), and 100 Horses, with bluesy riffs and Winter’s slurred ranting. Perhaps best of this mode is Bow Down, which boasts the most dizzying riff and catchiest refrain. Like the slower tracks, these tracks, however atmospheric, lack development and reach sudden endings. Islands of Men on the other hand, with a slow, jaunty pace and a springy riff, demonstrates another of the band’s obsessions: taking a single motif and progressively escalating in intensity.
The real highlights however sit, between the dreamy and the loud, in the two most rollicking tracks which come as a one-two punch to close the album: Taxes, with Gracelandian ‘world’ cadences and an exuberant outro, and Long Island City Here I Come, at breakneck speed, propelled by quasi-operatic fervour and conducted by Winter’s bizarre ruminations on rock music history and more.
The album’s success owes much to Kenny Beats’ lively production and less to the songs themselves, which are generally reductive compared to 3D Country. Nonetheless, Getting Killed establishes Geese as amongst indie rock’s most exciting performers and displays the band’s wide gamut of competences from slow psychedelic ballads to delirious ranting to blues rock jamming.
Released: September 26, 2025
Label: Partisan / Play it Again Sam
Best Tracks: Taxes, Long Island City Here I Come, Islands Of Men
Losing My Edge Rating: 7/10