Getting Killed - Geese
- Isaac Spackman
- Oct 7
- 3 min read
The next huge rock band might be here, and their name is Geese. Since their debut album Projector, the NYC locals have been on an upward trajectory, garnering a strong cult following. Their second LP, 3D Country, saw them pushed into public discourse as one of the hottest prospects out there. Now, having just sold out a UK tour, countless magazine covers, and being billed on the Coachella line-up, could the release of Getting Killed finally push Geese into the mainstream? The Mic's Isaac Spackman reports.
The band, led by charismatic frontman Cameron Winter, introduced their new album to the world with a free outdoor show at Banker’s Anchor in Brooklyn. It wasn’t just a gig, it symbolises everything we’ve come to understand about Geese: their connection to New York, their cult status and, above all, their authenticity. It’s that authenticity that bleeds into the album, which announces itself with pure chaos.
The songs feel like they write themselves, a natural extension of Geese’s originality. And a major factor of said standout originality is Cameron Winter.
Straight out of the gates, we are met with Trinidad, a song that starts fairly quietly until Cameron Winter makes sure we’re listening. “There’s a bomb in my car!” he yells frantically 25 times. From there, we’re taken on a rollercoaster of a track-list. One that could draw comparisons to Beatles-level invention and creativity and Julian Casablancas-esque sleaziness. Drummer Max Bassin is as much to blame for the colourful punching headliners of the album as Winter is. Elusive songs like 100 Horses and Long Island City Here I Come act as examples of outlandishly enjoyable percussive frameworks, and what some might call particularly honest drum parts, carrying grooves, swagger, and intent that feel like they’ve been missing from rock music for a long time. The songs feel like they write themselves, a natural extension of Geese’s originality. And a major factor of said standout originality is Cameron Winter.
A whole character study could be written on this enigmatic frontman. His lyrics finely balance heart-wrenching vulnerability with wit and humour in a uniquely idiosyncratic way; his voice, though it takes some adjusting to, cuts through each song with a confidence that feels equal parts chaotic and poetic. This, of course, is what we’ve come to expect from Cameron Winter’s lyricism: his ability to blend absurdity and sincerity with vivid storytelling was already on full display in his 2024 solo album Heavy Metal. It really feels like he is the future of rock music and a real star in the making.
Despite Getting Killed having such tonal shifts, the album flows seamlessly with each song feeling like it connects with the next. The accumulation of all these factors really adds up to a complete and exhilarating rollercoaster of an album.
But it’s not just Winter who elevates this record - Geese made the bold decision to recruit Kenny Beats to produce the album. Perhaps best known for his work with rappers like Vince Staples, Denzel Curry and JPEGMAFIA, he has now made an interesting turn to rock music. First, he masterminded IDLES’ last three studio albums, adding texture and experimentation and ambience to a band who had a serious energetic rhythm but needed a mastermind to pull it all together. Does that sound like anybody? Kenny Beats is a match made in heaven for Geese’s sound. On Getting Killed, he sharpens their energy whilst keeping their rough edges. The songs blend experimentation whilst keeping their urgency and he manages to navigate the extremes on the album from energetic to mellow and abrasive to ambient. Take Bow Down for example: it feels alive and potent, full of adrenaline and funkiness. Yet elsewhere on the album, songs like Cobra take a more mellow route, with softer, lighter guitars. Despite Getting Killed having such tonal shifts, the album flows seamlessly with each song feeling like it connects with the next. The accumulation of all these factors really adds up to a complete and exhilarating rollercoaster of an album. There are times you want to get up and dance and moments to pause and listen to the chaos collapse into something unexpectedly beautiful. The combination of artistry, personality, and daring production proves that Geese don’t have hype for the sake of it, they’re actually justifying it.
With Getting Killed, Geese prove that their rise is inevitable. They sound freer, funnier, and more fearless than ever, channelling chaos into something strangely moving. Cameron Winter feels like a generation defining frontman – a beautiful, heart-wrenching lyricist who can still have a laugh. This album doesn’t chase trends or comparisons; it exists on its own terms. If Geese once felt like the New York’s best-kept secret, that moment has passed. We have our new ‘it’ band, and their name is Geese.
Isaac Spackman
Edited by Max Durno