Brooklyn based Geese follow on from their career defining, avant-garde 3D Country, a record that sits at the top of album of the year lists for many, with accompanying 5 track EP 4D Country. Luke Bower shares his thoughts.
For me, what sets Geese apart from others in the forever vague genre of ‘post-punk’ currently is lead vocalist Cameron Winter’s unconventional delivery; one that has evolved significantly from their already stellar debut Projector, and one that results in their live set exuding confidence that would seem abnormal for a band 10 albums deep into their career, let alone 2. This was especially the case throughout their headline show at the Lafayette in London that I was fortunate enough to attend late in the summer. Jesse, the lead single from their latest EP, holds its own as a staple in their live set amidst 3D Country’s grandeur; a compliment that is echoed on the track’s subsequent studio release. Whispering, almost horror-like vocal passages infiltrate barren landscapes of instrumentation after its chorus, injecting the thematic narratives of desertion and isolation that are similarly found on 3D Country’s track list. The chorus itself offers catharsis and transcendence that aligns with the lyrical content of I See Myself in a way, one of my favourites from the album.
It begs the question as to why the track wasn’t on the album to begin with, a sentiment that is also replicated for the next track on the EP: Art of War. Sorrowful, yet optimistic lyricism that echoes the mantra of the need to ‘pick up the pieces’ in times of grief and unreciprocated devotion is juxtaposed by the pummelling instrumentation of the track’s back half. Psychedelic jolts of guitar accompany drummer Max Bassin’s familiar brilliance on the drums, again a compliment that is only amplified within their live show.
Killing my Borrowed Time follows, a bluesy, affectionate love song with sinister undertones. Geese demonstrate their ability at crafting effortless sentimentality and authentic emotion here, by appreciating the need to hold back on instrumentation and let lyricism and vocals take centre stage. This is further exemplified by the EP’s closer Space Race which rounds off the 3D Country era recording sessions exceptionally, offering all elements of the band, bar Winter’s formidable vocal capacity and gravitas, a chance to breathe amidst the experimental chaos of other tracks in their discography. The EP also offers an extended mix of 3D Country from their latest record, which presents a more expansive, sonically diverse and slightly sinister version of the album highlight.
To dismiss this collection of tracks as 3D Country’s’ ‘leftovers’ would be a detriment to their excellence.
All elements of what made their sophomore album one of, if not the, best records of 2023 are concisely honed in on with these tracks. The Brooklyn band’s evolution sonically here presents them as a force to be reckoned with alongside their contemporaries, with them opting for delicate instrumentation and introspective lyricism rather than the sometimes brash nature of post-punk as a whole. They’re a band that’s urgency demands your full attention on every listen, and a band that effortlessly reshapes the definition of art-punk and post-punk on each release through intertwining their work with 60s rock and soul in a way that is constantly engaging and riveting. Delve into their discography if you haven’t already, they couldn’t be more worth your time.
Luke Bower
Edited by Natalie Howarth
Featured Image from 4D Country Official Album Cover/
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