‘Rock is dead,’ a comment that every person reading this review has likely heard at some point in their life. If you are just looking at what the Grammy’s nominate, then maybe so, but anyone seeking good rock music knows that it’s out there. The music is different, but rock is still alive, and no record released in the past few years shows that than Geese’s new record, Getting Killed.

This new record has sent Geese into the stratosphere of indie rock, with concert tickets rising dramatically in price post-release, various songs becoming popular on social media, and the band appearing on late night programming. The band is truly famous now; famous and acclaimed. The hype has built gradually over the years, with 2023’s 3D Country being a semi-breakout album for the band and then lead singer Cameron Winter’s solo debut Heavy Metal being an end of year highlight in 2024. A series of great singles (“Taxes,” “Trinidad,” and “100 Horses”) were released as hype grew, and by the time it dropped, it was clear that Geese would be the next big indie rock band.

My curiosity was first peaked by Heavy Metal last semester. A close friend suggested it to me and I grew to love the album. I would soon see the band open for Vampire Weekend, likely the smallest set they will be playing for a long time after this new album. The record continued to become one of my most anticipated for the year, and I must say it did not disappoint in the slightest. The band effortlessly blends elements of Strokes-esque post-punk, chaotic southern rock, and a willingness to experiment to create a thrilling, emotionally charged record. Cameron Winter’s distinct vocal delivery, one that is best described as a mix of Tom Waits and Nick Cave fused with Julian Casablancas. It’s a deep voice that demands your attention and pairs greatly with the explosive production of the album.

“Trinidad” kicks off the record and is potentially the best track on the album. The song is a bluesy trudge that builds to an explosive chorus, seeing Winter and an assortment of other voices shout “THERE’S A BOMB IN MY CAR” over a blasting baseline. The song gets more and more chaotic as it builds. The lyrics get more and more unhinged, and the song seems to almost be blown apart by its own momentum. Without a doubt the best opener I’ve heard all year. Cobra alleviates some of the intensity of the opening moments, being among the catchiest moments of the record. It feels like a classic ‘70s rock song. Winter showcases the range of his voice on this more romantic track as his lyrics paint a picture of romance and temptation. It’s a warm song, but the imagery of the cobra and the growing tension hints at what is to come on the rest of the record. The hypnotic “Husbands” is our next stop, taking us down a nihilistic descent that will carry over to the next track. Winter’s vocals are absolutely tested on this track, layered and layered to a point where you wonder how he can still keep going. The lyrics here are among the darkest on the record, speaking of loneliness, falling apart, and death (as many of the tracks do, hence the title). It feels that at this point Winter’s mental health has collapsed or rather is “falling apart”. The song crescendos into a build of repetition and intensity, a pattern throughout the record. The title track features manic chanting throughout, stopping and starting again as the song plays with tempo in such a satisfying way. Winter’s lyrics here are outright surreal at points, but they create some truly vivid and entrancing imagery. “Islands of Men” showcases more of the aforementioned crescendos and repetitive builds that the band have perfected on this record, creating a truly entrancing build. The false stop towards the end of the track is a highlight of the record as well.

“100 Horses” was my least favorite of the three singles, and while it is a good rock track, I feel that it pales in comparison to the tracks around it. It lacks the pure madness of tracks like “Trinidad” and “Getting Killed” and doesn’t have the emotional weight of later tracks on the record. It’s good, but it suffers when stacked to the great tracks before it, and it’s the only track here that feels like another band could’ve made it. “Half Real” was initially my least favorite on my first listen, but it has grown on me as I’ve sat with the record. The lobotomy imagery and feelings of pure despair on the song have grown on me and feel particularly vulnerable. My only complaint is that it is placed next to a very similar track, and the record didn’t necessarily need both of them. That latter track is “Au Pays du Cocaine,” which is a similarly slow, emotional track. It features a very gorgeous instrumental and vocals that sound like Winter is on the verge of tears. It’s a track of pure longing and a sense of abandonment and it hits hard.

“Bow Down” ups the ante after around 10 minutes of slower moments, having a very angular guitar riff paired with similarly abstract lyrics. Winter gives one of his most intense vocal performances of the entire record here, less chaotic but rather full of passion and intent. It’s among the more intense moments of the record and it kicks off the final moments of the album. “Taxes” was the lead single of the record, and for the first minute or so I didn’t know what to expect. In the context of the record, it seems like it will be similar to “Half Real” or “Au Pays du Cocaine” – and then the instrumental is fully unveiled. No track this year has felt “instantly iconic” to me in the way that this track does. It feels like it could have easily been a classic rock track that was just unearthed after 50 years of missed potential. The instrumental buildup here is among the best on the entire record. Excellent lead single and placed perfectly on the record. “Long Island City Here I Come” provides a breakneck finish to the album, swapping manically between intense verses and a humming guitar motif throughout the track. It’s a dramatic finish to a record that I can best describe as cathartic. The record ends as it begins, leaving the listener speechless.

My thoughts on the record were extremely high upon first listen; had I reviewed it then I likely would’ve given it a 10/10, but upon re-listens, I found the parts that didn’t click with me as much. The record begins with the best material to be found in the band’s discography and manages to have a conclusion that is almost as strong, but it slightly suffers in the middle. There’s a good balance here between the brooding, manic, and absolutely insane tracks such as “Trinidad” and “Husbands” and the more emotionally potent tracks like “Cobra” and “Half Real,” but I think the spacing of these tracks could’ve been executed better. We lose a lot of the building momentum around the time we get to “Half Real” and it brings the album down a bit. I still don’t find “100 Horses” that interesting.

I truly struggled to write this review, call it writer’s block or burnout, but even in perfect form it is a nearly impossible task to put these songs into words. It leaves such a strong initial impression because it feels so incredibly original and genuine, yet each re-listen reveals something new. The vocals are so unique yet accessible, and these songs have some of the most abstract yet potent lyricism I have heard all year. This is the sound of a band performing in peak form, a vision truly realized. Geese will likely be the biggest indie band of their generation, and for good reason. Getting Killed is one of the most original albums I have heard all year and is worthy of each and every listen you give it.

Best Tracks – Trinidad, Cobra, Husbands, Getting Killed, Islands of Men, Taxes

Worst Track – 100 Horses