Album Review: Getting Killed by Geese

There is only dance music in times of war Every so often, an album comes along that shifts the foundation of indie-rock. From Radiohead's OK Computer to Neutral Milk Hotel's In the Aeroplane Over the Sea to Arcade Fire's Funeral, there's a rich history of cornerstone records that have inspired entire generations of artists to lift up their voices and guitars in the spirit of true creation. It's been a while since I've felt a similar stirring to what those records were able to deliver around the turn of the millennium, and since then we've witnessed dozens of "next great band" anointments (some by me!) that have proven both premature and transient.

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The Brooklyn quartet’s third album brings a sense of unerring chaos to a work that is exciting, creative and wondrously strange Now and again, an album comes along that you just know is going to raise its creators up a level. Geese have been around for almost a decade, forming while teenagers at school, but it was only after the covid pandemic that people really began to take notice of them. Both the Projector and the 3D Country albums received critical acclaim, while last year’s solo debut from lead singer Cameron Winter was a late contender for best album of 2024.

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It read "Geese: A real band". It's a title that invites questions. What makes Geese a real band? What gives Geese the right to declare themselves a real band? Which bands aren't real bands? It could be viewed as a wry piece of post-irony among Zoomers. That reading only works if you haven't heard Getting Killed.

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In a word, Geese's Getting Killed is percussive. With producer Kenny Beats at the helm, drummer Max Bassin stays in maximum overdrive throughout. The album is the band's tightest to date and an absolute kick in the head. Full of biblical references and apocalyptic imagery, with some nonsensical asides thrown in to boot, it's also the group's most serious effort to date.

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Things get off to a blistering start as "Trinidad" imagines a world where a mosh-pit choogle could break out, and you might toss an elbow into a face topped with a wide-brimmed hat. From that point on, though, the album fully embraces a patchouli and paisley wonderland. Max Bassin offers up ever-multiplying versions of inventive thump-and-chug rhythms behind the drums as the band weave their jams around him.

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It's usually pointless to predict when a band might ascend to stardom, but if you placed your bets on Geese this year, the odds are certainly in your favour. The New York indie-rock band have made a dizzying ascension, buoyed by the critical acclaim that followed the release of frontman and lead vocalist Cameron Winter's debut solo record ‘Heavy Metal’ last year. So uncertain were its commercial odds that it got slated with a December release date, which slowed initial pickup but has had the intriguing effect of creating consistently growing streams for the best part of 2025, creating a halo of interest that's reflected back onto Geese's new offering ‘Getting Killed’.

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Geese's Getting Killed is an album of and for our times. Reportedly recorded in just 10 days, it thrives on sharp edges, sudden turns, and a kind of half-broken beauty. This is a band that moves so fast that it sounds like the songs are inventing themselves as they go. If Geese's 2023 album 3D Country was an attempt at mapping out a grand narrative, with a full-throttle sound to boot, Getting Killed is far more impressionistic.

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To be labelled a 'hyped' band can be a poisoned chalice, especially for groups where the average age of members is under 25. Since 2023's '3D Country' and the critical acclaim of frontman Cameron Winter's solo album 'Heavy Metal', Geese have been heralded as the heir apparent to New York's indie-rock throne. With the release of 'Getting Killed', it is clear that such praise is justified.

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