“Getting Killed,” an Album Review

Geese is an emergent band based out of Brooklyn, New York, who just released a new album entitled “Getting Killed.”

On “Getting Killed,” not only does lead singer Cameron Winter reiterate his status as being the single most noteworthy and impressive frontman/singer-songwriter in the indie music scene, but the other members of the band quickly demonstrate their own greatness. Max Bassin (drums) and Dom DiGesu (bass) are better than ever before, spinning up a series of relentless grooves that pound around in your skull before suddenly dissipating, and Emily Green (lead guitar) has clearly expanded her repertoire. Finally, Kenny Beats’ sharp production lends itself to the band. The resulting project is by far Geese’s strongest, catchiest and most impressive release 

to date.

The record opens with “Trinidad,” a frenzied, hazy homage to palm trees and Jimi Hendrix. It serves its function well as the opening track; if this song scares you away from the project, you’re not its target audience. Following it is the effortlessly sweet “Cobra.” Perhaps the best riff Green has ever done is punctuated by Winter’s gorgeous vocals. This track is phenomenal, and a true standout on the record.

The third track, “Husbands,” is a strong contender for Bassin’s most convincing percussion on the album (though he is phenomenal on just about every track). Unfortunately, the stunning quality of the tracks before and after it renders “Husbands” a tad forgettable, but it is certainly more than serviceable.

The dizzying fourth song is the titular track, “Getting Killed.” The first half of the track is chaotic and hard-hitting, and it feels like a whirlwind battering the listener from all sides. The second half is even more impressive than the first. It displays some of Winter’s strongest vocals and pulls the listener under the waters of Bassin and Green’s united efforts.

“Islands of Men,” the next track, unfortunately, overstays its welcome. The last few minutes are better than the first few; however, overall, the track is forgettable in the context of the album.

“100 Horses” is a true standout on the album. Green, Bassin and DiGesu are positively relentless, and the piano is jaw-droppingly effective in the context  of the song. Of course, Winter’s soulful vocals also stand out.

“Half Real” and “Au pays du cocaine” are both very beautiful vocals-focused ballads, maintaining the status quo from their previous album, “3D Country.”

“Bow Down” and “Taxes” return to the regularly scheduled programming of hard-hitting alt-rock that this album has taught us to love, featuring excellent production and percussion. They’re both very rhythmic and repetitive, yet still dripping with NYC drawl, like most of this album.

This album’s swan song is the final track, “Long Island City Here I Come.” It’s not hard to discern that the band intended this track as an opus of sorts, and though it doesn’t quite reach its goals, it is an undoubtedly phenomenal track and a great ending to the record. 

Geese continues to improve with each successive release, and each album they produce is more innovative and groundbreaking than the last. I implore you to listen to this outstanding album.