Getting Killed, the third studio album from post-punk indie rockers Geese, is a pivotal release for the young band, marking the beginning of a vein that could carry the blood of their artistry to the artery. After cementing themselves as modern-day sonic trapeze artist with releases like the aggressively twangy 3D Country, and vocalist Cameron Winter establishing an undeniable range on his solo debut, Heavy Metal, Geese are slowly proving to be less of a band and more of a living organism held together by creative chemistry and unwavering passion. The drastic differences between the latest releases from the Geese camp essentially erase all notions of the band, leaving them a blank slate for Getting Killed.
A fresh start, such as Geese have given themselves, can be a blessing and a curse, depending on whose hands it lands in. One could become crushed by the weight of options and opt for a lazy release, but Geese is not that one, and based on these fresh eleven songs, they couldn’t be even if they tried. Getting Killed establishes the band as amorphic, an ever-growing blob of raucous rock that thrives in the unpredictability it has put into place. Rather than select one of the many sonic worlds that gave Geese this pedestal they stand on, the band decides to dive deeper into their loftiness on Getting Killed, creating a sprawling LP that never loses focus, yet never feels the need to linger too long.
Getting Killed is wonderfully weird, unabashed, and most importantly, another victorious LP in the Geese discography. What the band’s third LP lacks in consistency, it makes up for with color, execution of off-kilter tactics, and immersive vocal performances. Frontperson Winter continues to prove to be one of the most exhilarating vocalists in modern rock, with stunning feats achieved on moments like the chaotic intro, “Trinidad,” and the moody, twisted croons that drive “Half Real.” While Winter’s vocals pop like a red wristwatch in an all black outfit, the vocalist is far from the lone star of Getting Killed. The sweeping cinematography of “Islands of Men” allows bassist Dominic Digesu to showcase their groovy tendencies. At the same time, “Au Pays Du Cocaine” highlights the atmospheres the band’s chemistry can conjure up, as they morph their terrain into a gentle, noir-style highlight.
It is easy to get caught up in the rainbow of tones and moods on Getting Killed, but the songwriting is just as detailed. Witness the sailor imagery established on “Au Pays Du Cocaine” bleed into the frantic grooves and raw, poetic narrative of “Bow Down.” The vague yet potent imagery is the only element of Getting Killed that anchors Geese to their previous sound, and that is far from a complaint. Lyrically, Geese have never held back a punch, allowing their emotions to run wild on songs like the moving “Husbands” and the hidden emotional breakdown explored on the title track.
Geese did more than create another genre-pushing LP to add to their collection on Getting Killed. The youthful, refreshing band seamlessly transitions into honed, art-rock masterminds whose ability to catch up to their grandiose visions proves to be the abstract, winning formula that doubles as the final piece of the puzzle for the band’s inevitable longevity.
