Don’t let the title of their new album, Getting Killed, idiot you — Geese are very a lot alive. After bursting onto the scene as scrappy youngsters, dropping the post-punky Projector (and nabbing a CoSign for it), the band’s trajectory has solely gone in the correct route. They first leveled up their songwriting with the extra warm-blooded 3D Nation and, late final yr, frontman Cameron Winter dropped one of many buzziest solo debuts in current reminiscence with the superb Heavy Metallic. Now, Winter is again with the band for Getting Killed, and never solely is it Geese’s finest providing but, it’d simply be some of the inventive indie rock data of the 2020s.
Getting Killed looks like Geese breaking their earlier molds, gluing them again along with a sure stage of reckless abandon, and seeing what new shapes of guitar music come out of it. Whereas their first launch leaned on slick grooves and vibes that borrowed from New York Metropolis’s indie rock previous (suppose Interpol or The Strokes) and their second album discovered them carving out a heart-on-their-sleeve silliness that felt extra true to themselves, the brand new set blasts the conception of the band large open; it’s a voice that, whereas indebted to trailblazers of the previous, is all their very own.
Take opening reduce “Trinidad,” which successfully units the tone for what’s to come back. Guitarist Emily Inexperienced assaults every ear independently with warbly, borderline funky licks blended in harsh stereo. Winter then enters softly, tapping into his falsetto, just for the entire thing to blow up on a dime with horns, new tracks of instrumentation that reduce out and in like they’re malfunctioning, and screams of, “THERE’S A BOMB IN MY CAR!” Because the tune progresses, it solely turns into more and more chaotic with closely delayed vocal traces, extra hard-panning, and drummer Max Bassin’s multilayered percussion, which feels like an earthquake hit a center college band room. On paper, it feels like a observe prone to being an incoherent mess; in your headphones, it sounds completely exhilarating.
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The wildness of the manufacturing is one thing Winter struck gold with on Heavy Metallic. On that largely piano-based mission, Winter discovered magnificence in unusual timbres, unfastened feels, and weird recording methods. (The person himself has claimed he recorded elements in numerous Guitar Facilities, enlisted the assistance of Craigslist musicians, and had a five-year-old play bass — although no less than a few of this has confirmed to be Winter performing some Bob Dylan-esque mythologizing.) Whereas that resulted in a uniquely intimate really feel for his solo enterprise, using comparable techniques together with his rock band manifests in a stay wire of a report. The perimeters are completely frayed, and there’s an anxious pleasure that, at any second, it’d all disintegrate. It’s a mode that feels aligned with early Velvet Underground or Iggy and The Stooges, the place the pursuit of studio perfection is swapped out for character, intrigue, and rattling superb songwriting.
Later tracks like “100 Horses” and “Half Actual” pull off such methods to spectacular outcomes, with the latter even beginning out with a number of seconds of drone that just about feels like a direct reference to “Venus in Furs.” “Husbands” equally finds an unconventional groove, upon which it builds a song-long crescendo, whereas “Bow Down” turns a staccato riff into an off-kilter dance celebration earlier than a false ending results in a fab guitar solo. Tracks like these play with the identical genres Geese have expressed curiosity in earlier than — post-punk, funky rock ‘n’ roll, basic rock, artsy indie music — although that is the quartet’s most compelling synthesis of these types but.
The identical reward might be utilized to the tunes on Getting Killed that play it softer and sweeter. “Cobra” is breezy and boasts a Seashore Boys-esque sonic palette, the splendidly titled “Au Pays du Cocaine” trots alongside at a tempo that spotlights Winter’s expressive baritone, and “Islands of Males” slowly develops its sunny vibes over the course of six minutes as bassist Dominic DiGesu walks up and down his fretboard. That track, particularly, feels functionally harking back to “Pacific Theme” from Damaged Social Scene’s You Forgot It in Individuals, and never only for the tropical titling, however fairly for it’s pacing, instrumental improvement, and placement within the tracklist.
