{"id":81026,"date":"2025-09-23T13:04:09","date_gmt":"2025-09-23T13:04:09","guid":{"rendered":"https:\/\/www.europesays.com\/ie\/81026\/"},"modified":"2025-09-23T13:04:09","modified_gmt":"2025-09-23T13:04:09","slug":"another-exhilaratingly-free-spirited-turn-from-the-new-york-cult-heroes","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/ie\/81026\/","title":{"rendered":"another exhilaratingly free-spirited turn from the New York cult heroes"},"content":{"rendered":"

Since putting out their debut album \u2018Projector\u2019<\/a> in 2021, Geese<\/a> have become one of the most respected bands of their generation. The former NME Cover stars<\/a> have built a fierce reputation for making consistently interesting, experimental indie<\/a>\u2013rock<\/a> that makes you believe original ideas still exist, even as they reference acts who\u2019ve come before them. Their growth has been a word-of-mouth sensation, chatter around that first LP \u2013 a solid slice of post-punk thrills \u2013 getting increasingly louder with 2023\u2019s country<\/a>-tinged rock\u2019n\u2019roll record \u20183D Country\u2019<\/a> and frontman Cameron Winter<\/a>\u2019s acclaimed solo debut \u2018Heavy Metal\u2019 last year<\/a>.<\/p>\n

Now, with their third album \u2018Getting Killed\u2019, Geese feel on the verge of proper cult superstardom. That\u2019s in part thanks to \u2018Heavy Metal\u2019 carving out more space for Winter as a magnetic presence \u2013 the kind of artist where you don\u2019t know if his interview answers are real or bullshit, and whose stream-of-consciousness seems to produce work that feels both profound and impenetrable. It\u2019s also thanks, though, to the whole band\u2019s commitment to keeping their fans guessing, trying out new things and not being afraid to get a little weird.<\/p>\n

That approach remains intact on \u2018Getting Killed\u2019, obvious from its opening \u2013 \u2018Trinidad\u2019\u2019s noodling guitars and Winter wailing, \u201cThere\u2019s a bomb in my car\u201d over blasts of discordant noise. Sonically, this album feels like a natural stepping stone from both \u20183D Country\u2019 and \u2018Heavy Metal\u2019, losing more of the Americana feel of the former in favour of warm but unconventional rock\u2019n\u2019roll collages. The title track centres around a bluesy guitar riff and a cut-up loop of a Ukrainian choir layered over it, while \u2018Taxes\u2019 grows from syncopated percussion to a chiming guitar topline that could have been pulled from a Stone Roses<\/a> record.<\/p>\n

There\u2019s a lingering feeling of something spiritual happening on \u2018Getting Killed\u2019. Sometimes that comes through in Winter\u2019s delivery, which often feels like a rambling but engaging preacher delivering his teachings to a rapt congregation. At others, it\u2019s the imagery he uses in the lyrics, like in \u2018Taxes\u2019 when he sighs, \u201cI should burn in hell \/ But I don\u2019t deserve this\u201d, and later warns: \u201cIf you want me to pay my taxes \/ You better come over with a crucifix \/ You\u2019re gonna have to nail me down\u201d.<\/p>\n

In the lead up to \u2018Getting Killed\u2019\u2019s release, Geese told Rolling Stone<\/a> they had spent one day in the recording process so focused on choosing a handclap sample that they\u2019d forgotten \u201cto make the song\u201d. There\u2019s so much going on in this album that it feels like it would have been easy for the five-piece to lose sight of the bigger picture, yet for all its abrupt shifts and intricate details, \u2018Getting Killed\u2019 somehow doesn\u2019t ever feel like there\u2019s too much at play or like its creators aren\u2019t in complete control. Instead, this is a band living up to their reputation as exhilaratingly free-spirited, not so much proving they deserve all the accolades and fervent fanaticism bubbling around them but demanding it.<\/p>\n

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