{"id":7340,"date":"2025-09-30T20:49:13","date_gmt":"2025-10-01T02:49:13","guid":{"rendered":"https:\/\/sites.coloradocollege.edu\/socc\/?p=7340"},"modified":"2025-10-13T21:07:44","modified_gmt":"2025-10-14T03:07:44","slug":"geese-get-killed","status":"publish","type":"post","link":"https:\/\/sites.coloradocollege.edu\/socc\/2025\/09\/30\/geese-get-killed\/","title":{"rendered":"Geese Get Killed"},"content":{"rendered":"\n

by Jim Sellars and Bradley Humble<\/em><\/p>\n\n\n\n

The eclectic indie rock outfit currently taking the internet by storm is Geese, a New York-based group that has drawn praise from the likes of Cillian Murphy, Jimmy Kimmel, Jimmy Fallon, and every obnoxious indie wanker you’ve ever met (including me, Jimmy Sellars). Their newest album, Getting Killed<\/em>, was widely anticipated by many excited fans and did not disappoint, as the new sound of the band is eccentric, progressive, and wacky, my favourite.<\/p>\n\n\n\n

Contrary to their previous and far more digestible blues-based project, 3D Country<\/em>, Getting Killed <\/em>is a masterclass of breaking the status quo of modern mainstream music, delivering a unique blend of soul, rock, alternative, and a weird something else I can’t yet place my finger on. Cameron Winter, the band’s frontman, delivers a whiny and passionate vocal performance on many of the tracks, while the rest of the band seems to fall into their own style, an increasingly signature sound that manifests as you listen throughout their discography. <\/p>\n\n\n\n

The album begins with the track, \u201cTrinidad\u201d, which in all honesty, I dont like very much\u2026 Although Bradley does\u2026 so there’s that.<\/p>\n\n\n\n

\u201cTHERE’S A BOMB IN MY CAR\u201d – Bradley<\/p>\n\n\n\n

Trinidad is repetitive in the best possible way, bringing the listener into the world of commonly Canadian feathered bipeds, one scream and one zany riff at a time.<\/p>\n\n\n\n

\u201cTHERE’S A BOMB IN MY CAR\u201d – Jim (it’s growing on me)<\/p>\n\n\n\n

Trinidad is nonsensical, abrupt, and gritty. Lyrically ridiculous and musically explosive, it sets the stage for a far more experimental album than what we’ve come to expect from Geese, which is saying something, as \u201c2122\u201d, 3D Country<\/em>\u2019s opener, is also pretty fucking weird. That’s why the transition into the next piece, \u201cCobra\u201d, is so unexpected, which is not to say it’s unwelcome, however.<\/p>\n\n\n\n

\u201cCobra\u201d is a slow, beautiful ballad dedicated to\u2026 dancing? To South Asian snakes? To washing your significant other’s feet? God knows, this dude\u2019s songwriting is wack. Regardless of its meaning, though, the song is gorgeous, and I can see why it’s quickly become their most popular track on Spotify. A palatable and catchy indie folk\/love song that makes you want to dance away\u2026 forever.<\/p>\n\n\n\n

Another melodically friendly track, \u201cIslands of Men\u201d, follows the instrumental explosion of the title track, \u201cGetting Killed\u201d. Emily Green\u2019s amazing guitar work greets the listener with a mellow riff that winds through the track, repeating alongside cheerfully clinking percussion. Each added layer of sound on this track carefully guides the listener to the halfway mark. Interrupted by a simple series of chords, the song returns with a new momentum, Max Bassin\u2019s drums in full force, along with additional vocal harmonies. But instead of creating a sonic disconnect between the first half that preceded it, as is the case with many of the other tracks on this album (\u201cTaxes\u201d, \u201cGetting Killed\u201d), the intensity added to this next half translates as even more laidback swagger, capitalizing on the simple guitar riffs and Winter\u2019s seemingly disinterested lyrical deliveries. Adding in tasteful horns and piano, the song blossoms into a choir-like climax where every instrument finally joins into an organized chaos, and the song concludes.<\/p>\n\n\n\n

\u201cAu Pays Du Cocaine\u201d follows a few songs after, another slow ballad, weaving repetitive lyrics with a plucky steel guitar melody. Cameron, in this song, a lovesick, seemingly in denial, romantic pleads for his partner to stay, to change, to come home. The title Au Pays du Cocaine is a clever play on words of the French phrase for being in the land of plenty, \u201cau pays de cocagne,\u201d implying a drug-induced land of plenty, perhaps alluding to the song being dedicated to a partner in the throes of drug addiction (but I\u2019m also totally bullshitting and have no idea). The song builds with Winters\u2019 signature piano that swells behind his weary vocals, creating a haunting sense of yearning that feels both intimate and cinematic. The chorus emphasises being free, as a sailor in a big green boat or a big green coat is free, but the freedom he describes feels hollow, more like a return to comfort rather than liberation itself. In a final burst of energy, the song builds and ends with almost a pathetic reassurance that everything is fine, spoiler alert, it probably isn’t\u2026<\/p>\n\n\n\n

Winter continues his sailor and boat motif in the following track, \u201cBow Down\u201d. The song begins with the statement \u201cI was a sailor, and now I’m a boat\u201d…  truly profound\u2026 Despite my snide pretentiousness (Jim Bruce Sellars, not Bradley Tellez Humble), this song is probably my favourite on the album, an energy-filled, experimental rock piece chock-full of bounding guitar rhythms, technical drum fills, and weird timing, all rounded out with thick bass and lead guitar lines which ground the otherwise rather chaotic song. It\u2019s the kind of song that feels like it\u2019s about to fall apart at any second, but somehow glues itself together, a testament to the band’s ability to hold the pocket relentlessly, something highlighted in the song’s breakdown and guitar solo. Lyrically, \u201cBow Down\u201d glances the line of absurdity, obsessed with \u201cMaria’s dead bones\u201d, whatever that means; but also genius, as with the line: \u201che with least money has most to sell\u201d, where it seems Cameron Winter discovers the laws of economic necessity, incredible. <\/p>\n\n\n\n

Closing the album in stunning Geese fashion, \u201cLong Island Here I Come\u201d, showcases perhaps the biggest strengths of Geese\u2019s musicianship. Sticking close to the same pattern of two very distinct parts of each song, Dominic DiGesu\u2019s bass and Bassin\u2019s drums (shoutout rhythm sections everywhere) usher the latter half of this track in, leaving nothing on the table. Sporting an absolutely fucked bass line, this song makes the listener want to stage dive. After an album that could be characterized as a careful restraint on the brink of chaos, with always just a little bit of unhingedness to be wanted from each track, \u201cLong Island Here I Come\u201d ensures that the listener really only wants to take a nap once the track is over. When it abruptly ends, you can finally appreciate how your ears just got the shit beat out of them by Geese.<\/p>\n\n\n\n

While Getting Killed <\/em>might fall on some deaf ears due to its reliance on drastic changes in most songs, resulting in a somewhat nonsensical project, it’s precisely on this nonsense that Geese thrives. Breaking away from the traditional constraints of rock\u2019n roll, Geese\u2019s embrace of non-conventional sonic structures feels like a huge step forward, rather than any regression from their previous projects.<\/p>\n\n\n\n

Call me crazy, but in this sense, maybe we all have something to learn from Geese. Instead of creating an album that might have done better for radio, which so many artists seem to have done after finding a hint of monetary success (I\u2019m thinking Amyl and the Sniffers, IDLES and even (please dont hurt me) Black Country New Road), they chose to keep music different, interesting, and raw. In the era of giant streaming conglomerates that hinder the average listener\u2019s ability to explore new music and subsequently dump their profits into detestable investments, maybe Geese can serve as a role model for bands that want to keep their artistic authenticity without compromising success.<\/p>\n\n\n\n

NEW YORK CITAAAYY!!!!!!!!!<\/p>\n","protected":false},"excerpt":{"rendered":"

by Jim Sellars and Bradley Humble The eclectic indie rock outfit currently taking the internet by storm is Geese, a New York-based group that has drawn praise from the likes of Cillian Murphy, Jimmy Kimmel, Jimmy Fallon, and every obnoxious indie wanker you’ve ever met (including me, Jimmy Sellars). Their newest album, Getting Killed, was […]<\/p>\n","protected":false},"author":1810,"featured_media":7341,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"enabled":false},"version":2}},"categories":[155],"tags":[],"class_list":["post-7340","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-album-reviews"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/sites.coloradocollege.edu\/socc\/files\/2025\/10\/Geese-Getting-Killed.jpg?fit=640%2C420&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/pa7fJU-1Uo","jetpack_likes_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/sites.coloradocollege.edu\/socc\/wp-json\/wp\/v2\/posts\/7340","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.coloradocollege.edu\/socc\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.coloradocollege.edu\/socc\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.coloradocollege.edu\/socc\/wp-json\/wp\/v2\/users\/1810"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.coloradocollege.edu\/socc\/wp-json\/wp\/v2\/comments?post=7340"}],"version-history":[{"count":1,"href":"https:\/\/sites.coloradocollege.edu\/socc\/wp-json\/wp\/v2\/posts\/7340\/revisions"}],"predecessor-version":[{"id":7342,"href":"https:\/\/sites.coloradocollege.edu\/socc\/wp-json\/wp\/v2\/posts\/7340\/revisions\/7342"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sites.coloradocollege.edu\/socc\/wp-json\/wp\/v2\/media\/7341"}],"wp:attachment":[{"href":"https:\/\/sites.coloradocollege.edu\/socc\/wp-json\/wp\/v2\/media?parent=7340"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.coloradocollege.edu\/socc\/wp-json\/wp\/v2\/categories?post=7340"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.coloradocollege.edu\/socc\/wp-json\/wp\/v2\/tags?post=7340"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}