Album review: Geese’s 'Getting Killed' makes a statement as 2025's most exciting rock album

Released earlier this autumn, Getting Killed is Geese's third album and follows their 2023 release, 3D Country. The new album has grabbed the attention of rock critics and the rock music world alike, cementing the New York natives as an exciting and original upcoming rock band. Geese have carved out a sound which brings together notes of post-punk’s experimentalism, the softer melodies of indie rock, and heavy rock thrashing, creating a rock album that feels both refreshing and original in 2025.  

An element which distinguishes Geese’s sound is the sinister sound of Cameron Winter, whose mutant vocals are often paired with dark lyrics. A clear example of this sinisterism is shown in the opening track ‘Trinidad', where a sleazy and snaking psych-blues guitar supports Winter as he envisages a dystopian world, repeating the lyric "there’s a bomb in my car". The listener’s unease peaks as the song climaxes with a crashing of drums and Winter’s nondescript wailing, leaving the listener uncomfortable and worrying where Winter will take them the course of the next 45 minutes. 

Yet, as the album proceeds, the early aggression is toned down, with the band exploring a softer side of their music through the use of orchestral arrangements somewhat reminiscent of Black Country, New Road, on songs such as ‘Cobra’ and ‘Au Pays du Cocaine'. Geese’s experimentation with their own sound shows them maturing as a band as they move away from their previous album, 3D Country, which was a more straightforward indie rock album. Furthermore, it signals that Geese are multi-dimensional as they do not have to rely on the all-too-familiar, in-your-face image of rock music.

Despite their newfound fame, with a recent appearance on Jimmy Kimmel Live and a viral Brooklyn pop-up concert, Geese are far from a new band. Having formed in 2016, they met at high-school and have thus far enjoyed the privilege of crafting their sound and creative perspective away from the limelight of the mainstream. From recent interviews with publications such as The Rolling Stone, the four-man band come across as a cohesive group, flattering each other as being sources of creative inspiration for each other and claiming Winter as the driving force of the writing. 

The time Geese have had to develop is evident in the depth and seriousness of Winter’s subject matter, reflected in ‘Island of Men' where he grapples with the struggle to split reality from fantasy. Winter’s pain is felt in the song and accompanied by a monotonous guitar riff which has the effect of progressively intensifying as he asks "will you stop running away from what is real and what is fake?". His point becomes more pressing as the music comes to a short silent standstill which feels both cathartic and leaves the listener reflecting, before the instrumental returns with Winter ad-libbing the words "running away". Winter’s lyrics here feel significant in a world where much of life is dictated by social media, and our perspective of life is shaped by what is seen online, leaving a blurred line between the reality of life and the fantasy of the online world. 

Getting Killed's biggest hit, ‘Taxes', stands out as one of its strongest, seeing Winter using religious imagery as he confesses his guilt for being a bad person, singing "I should burn in hell". However, the song’s tone quickly switches as Winter sings "if you want me to pay my taxes, then you better come over with a crucifix, you'll have to nail me down". The religious motif of crucifix further isolates Winter’s initial confession and displays Geese’s unapologetic attitude, suggesting that they won't be forced into anything — not even paying their taxes — and defining them as a band with the freedom to follow their own path.

Getting Killed is one of the most refreshing albums within the rock genre in recent years, and confirms Geese's potential as a band transcending convention and avoiding being generic in every way. It will be exciting to see what they put out in the future as they commence a year-long worldwide tour. And, with their Manchester date in March 2026 already being upgraded from New Century Hall to the significantly larger O2 Victoria Warehouse, it looks as if it's only up from here for the New York band.