In 1974, after witnessing a show from one of the greatest rock and roll musicians of all time, Jon Landau wrote, “I saw rock and roll future, and its name is Bruce Springsteen.” Now, I likely will never have as much influence on the music world as Jon Landau, and I have never actually seen Geese live, but I know what the future of rock and roll music looks like, and its name is Geese.
If you’re still unfamiliar with the New York-based quartet that is sweeping the nation this year, let me tap you in. Geese came together in 2016, releasing a few EPs and one album before making their record label debut in 2021 with the album Projector. It’s a solid collection of straight-forward indie rock songs with some heavy post punk influences but isn’t something I revisit often.
In 2023, they really found their footing and broke into more popularity with the album 3D Country. Their sophomore album garnered a lot more attention to the band and was the album that led them to me. While I did enjoy it at first, the more it lingered with me, and the more I thought about it, the more I was truly able to appreciate its genius. It takes elements of punk, country, experimental rock, and indie rock and blends them seamlessly together, with singer Cameron Winter’s dynamic vocals throughout. It stands as one of my all-time favorite albums now.
Then, in December of 2024, Winter released his solo debut album Heavy Metal, surprising fans everywhere. This album was very much unlike the traditional Geese sound. Here, Winter took more from artists like Leonard Cohen and Van Morrison and utilized less of that CBGB’s-with-a-country-twang sound that the band seemed to be going for in 3D Country. It was an instant classic with critics and fans alike, with him ultimately performing the song “Drinking Age” on the Jimmy Kimmel show in March of this year.
Being blown away by Heavy Metal and my growing adoration of 3D Country gave me Geese fever this year. After hearing all the rumors of a new album dropping in 2025, I was on the edge of my seat to hear what they would do next一as was the rest of the music world. That excitement only grew with the announcement of album number four: Getting Killed. This announcement also came with the release of their first new single, “Taxes,” one of their best yet. It is a song so good that it essentially took over my summer. Geese would drop two more singles during the summer before releasing the full album on September 26.
Getting Killed opens with “Trinidad.” This song was the album’s second single and is a huge mood setter for Getting Killed’s core sound. “There’s a bomb in my carrrr!” Cameron Winter screams among a backdrop of trumpets, crashing drums, and funky slide guitar. It doesn’t waste time in letting the listener know the core themes of Getting Killed. This leads us into the next song, “Cobra,” an instant classic. Lead guitarist Emily Green’s sound is amazing on this song, but the drums and bass are what really elevate it to the next level for me. On 3D Country, it felt like the vocals and guitars were the ones carrying the melody of each song. Here, the melody feels more driven by the rhythm section with super funky, groovy bass and drums. You can really hear Kenny Beats’ production on it, with its heavy emphasis on the percussion. On Beats’ end, “Cobra” is a major standout. The chorus is catchy, and the instrumentals are even catchier.
Another key moment from the first half of the album is the title track. It is surprisingly the most energetic song thus far, with what seems to be more of that classic Geese sound. It has a super cool choir sample at its core, and Cameron delivers an electrifying title drop. The whole song has a chaotic, manic energy that sounds right at home with this band.
But Getting Killed really reaches its peak with the last four tracks. “Au Pays Du Cocaine” is one of the most mellow sounding songs in their discography, a pretty ballad with simple yet powerful lyrics. “Like a sailor in a big green boat, like a sailor in a big green coat…You can be free and still come home,” Winter sings on this track. I think it’s the deepest song on the album and it would have felt right at home on Heavy Metal. I still can’t entirely figure out what it’s about (is it drug addiction? A failed relationship?) but his delivery makes it super heavy hitting.
Then we get to “Bow Down,” another super energetic song with insane drumming from Max Bassin. It also features more lyrical allusions to sailors, with Cameron exclaiming that “I was a sailor, but now I’m a boat.” A great song as is, it elevates to new heights with an almost salsa-like instrumental passage in the second half that has every member of the band performing at the top of their game.
“Bow Down” leads us back to “Taxes,” the first single. It has a relatively unassuming buildup with a powerful climax and some intense instruments. It is an instant classic and honestly their most iconic song yet. The way the tension of the first half just explodes is so exhilarating and makes for one of the most exciting songs of 2025. “Long Island City Here I Come” follows right after and picks up right where “Taxes” left off, and makes the sound 100 times more powerful. Geese deliver non-stop punches to the face with a super-fast drumbeat and crazy vocals. It’s an adrenaline rush and left me stunned the first time I heard it.
No matter how you look at it, Getting Killed is something special. Geese, as a band, are really doing their own thing and it’s a breath of fresh air to hear modern rock artists that feel so unique and not afraid to be themselves. While 3D Country is an all-time classic for me, they are progressing their sound in a way that sounds super interesting and creative. In fact, it sonically reminds me more of an expanded, electrified version of Cameron Winter’s Heavy Metal. Geese are already one of the best bands out there and I’m sure that when their career is all said and done, their names will be right up at the top among the greats. They are rock gods in the making.
Best Songs: Cobra, Bow Down, Au Pays Du Cocaine, Taxes, Long Island City Here I Come, Trinidad, Getting Killed, 100 Horses
Weakest Songs: Half Real
Final Score: 9.4/10
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