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(Credits: Far Out \/ Geese)<\/p>\n
Wed 24 September 2025 16:36, UK <\/p>\n
Geese \u2013 \u2018Getting Killed\u2019<\/p>\n
Modernity is hellbent on making music subservient to aesthetic culture. Designed to soundtrack glimpses of our curated lives, the days of directing all of our sensory power to listen closely to the music, feel somewhat lost. But with Getting Killed, Geese<\/a> have provided a safe cocoon for music fans to dive headfirst into the true immersive brilliance of music, creating a record that sounds coherently chaotic. <\/p>\n On the New York band\u2019s third album<\/a>, enlisting the help of Kenny Beats for the production has helped crystallise their myriad ideas, for the famed producer has a knack for sitting at the eye of a diverse idea storm. Sure, he can put his spin on the final product and meticulously comb through tracks and samples that will undoubtedly help layer the band\u2019s textured approach, but will they lose their voice?<\/p>\n The simple answer is no. \u2018Trinidad\u2019 sees the band shake loose all of the hyper excited energy that laced previous records, leaving them standing in the softly blowing dust where the tender \u2018Cobra\u2019 comes in, gently tilting them forward. The Beach Boys-esque sonic profile feels like a fizzy bottle waiting to pop, especially when viewed through the lens of Geese-based expectation, but it doesn\u2019t. Instead, they gently pour out, foregrounding Cameron Winter\u2019s vocals, which waltz with the rhythm section for the entirety of\u00a0Getting Killed.\u00a0<\/p>\n By this point, you\u2019ve had it all, Geese old and new and you\u2019re listening with curious intent. So it\u2019s only right that the string of the record\u2019s best songs follow in \u2018Husbands\u2019, \u2018Getting Killed\u2019 and \u2018Islands of Men\u2019. <\/p>\n The first of which borders industrial and ethereal, with a typically Kenny Beats rhythm section that feels air-tight, almost like a web of tightly woven strings, that forces the melodies around sharp corners before unveiling the beautifully crafted chorus harmonies. It\u2019s a perfect song of paradox that must have quietly been waiting for a band like Geese to prize it out of a creative session.<\/p>\n The title track sounds like the band are basking in the emboldened sense of liberation the success of a signature sound has garnered them, while \u2018Islands Of Men\u2019 really kicks their musicianship into gear, perfecting the art of tension. It pushes and pulls throughout every verse, with an almost industrial disco guitar line driving it forward into the very heart of intrigue.\u00a0<\/p>\n But where \u2018Islands Of Men\u2019 emphatically shows improvement from anything they\u2019ve previously done is their textural restraint. Compositionally, the song is suitably dense, but rather than throwing tracks at it like a sonic Jackson Pollock<\/a>, they slowly trickle colours in with patience to eventually make a hypnotic yet charming kaleidoscope of a song.\u00a0\u00a0<\/p>\n