Geese Solidifies the hype with Getting Killed

By: Jonathan Marin  

Music Journalist  

A band or an artist taking the scene by storm is commonality. For a rock band to do such a thing is commonality. Geese’s breakout record, “3D Country,” was a landmark in the indie rock scene, being one of the most talked-about records of 2023. It created a safe space for the young band within the indie rock zeitgeist at a speed that had not been seen before, and it was easy to see why. The band drew influences from artists not typically associated with Gen Z, including Leonard Cohen, The Replacements, and Bob Dylan. Geese translated these old-school influences into something digestible for the new era. Frontman Cameron Winter furthered the hype with his solo album “Heavy Metal,” A unique project that pushed the limits of the band’s musical influence and was critically acclaimed by every major musical publication. The announcement of “Getting Killed” came at the perfect peak of the hype, but did the band live up to it?  

“Getting Killed” pulls no punches. Their previous album was chock-full of elaborate arrangements and high energy. But “Getting Killed” presents us with a stripped-back version of the band. The tracks are a lot more anticipatory, and the tension building is a common characteristic throughout the album. The instrumentation is more varied. The lead single “Taxes” features roto toms, atmospheric guitar work, and Cameron Winters’ sorrowful vocals. The song’s crescendo fully immerses you into a whirlwind of utter emotion. 

While the musicality is a lot more stripped back, the emotionality is turned up to ten with some truly heart-wrenching tracks. “Au Pays du Cocaine” seems to be the breakout track of the album.  The core concept of the track is, lowering your standards of love to let the person who’s slipping from you. “You can stay with me and pretend I’m not there.” The song reminds me of “The End of the World” by Skeeter Davis. The same childlike sense of desperation when it comes to love. 

These sorts of tender ballads push the chaotic ones to the forefront in a really unique way. The zaniness, chaos, and concept constructing from “” make its presence felt throughout the album. The title track makes you legitimately want to kick through a door with its glorious vocal harmonies and bashful nature. Trinidad as an opening paint a somewhat odd picture but serves as a storytelling outlet. Reminiscent of Violent Femmes Tracks such as “Country Death Song.” “There’s a bomb in my car.” 

 “Getting Killed” is a multi-faceted experience revealing the band’s discontent with not doing the same thing. Every track proposes a new idea, but the album still feels cohesive in the way each idea is delivered. The instrumentation feels so true to them despite their being as much variation. “3-D Country”, the band’s previous release, only showcasing a footnote of what the band can do is almost insane to say out loud. With this level of output and praise continuing, Geese can almost certainly continue to bring a breath of fresh air to rock and music as a whole.