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Geese embrace beautiful chaos on risk-taking 'Getting Killed' [Album Review]

  • October 1, 2025
  • Angelos Andreosopoulos
Detail's of EARMILK Geese embrace beautiful chaos on risk-taking 'Getting Killed' [Album Review]
Artist Name:
Geese
Album Name:
Getting Killed
Release Type:
Album
Release Date:
September 26, 2025
Record Label:
Partisan / Play It Again Sam
Label Location:
Brooklyn
Review Author:
Angelos Andreosopoulos
Review Date:
October 1, 2025
EM Review Rating:
10
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Geese has always been a band comfortable with contradiction. The New York outfit spent their early career as post-punk revivalists before pivoting toward something warmer and more personal on their second album. Now, with Getting Killed, released September 26, 2025 via Partisan Records / Play It Again Sam, they've thrown out the rulebook entirely. And the results are electrifying and disarming.

We don’t know exactly why this album exist, but we are blessed we have it: After frontman Cameron Winter released his critically lauded solo debut Heavy Metal late last year, the narrative seemed clear: talented frontman outgrows his band, pursues solo career, never looks back. That Winter chose to reunite with his bandmates and create a masterpiece. Getting Killed proves that chemistry matters, that the collision of multiple creative minds can produce sparks impossible to generate alone.

The album opens with "Trinidad," and within seconds you understand this album’s character. Guitars attack from opposite stereo channels, Winter's voice floats in falsetto before the entire arrangement detonates, horns blaring, drums multiplying, everything threatening to collapse under its own ambition. When Winter screams about bombs in cars, it's not shock value; it's the sound of a band pushing past their comfort zone and discovering what happens when control becomes optional rather than mandatory.

This production embracing imperfection. Producer Kenneth Blume (formerly Kenny Beats) recorded the album as Los Angeles wildfires raged outside, and that context bleeds into every minute. These songs feel urgent, like they were captured in single takes before the world ended. Whether that's literally true matters less than the emotional honesty this approach generates.

Not everything here exists at maximum intensity. "Cobra" dials back the chaos for something breezier, almost beachy. Nevertheless, the album, still, remains totally cohesive.

"Au Pays du Cocaine" showcases Winter's baritone in ways their earlier work never bothered exploring, his voice rich and expressive over arrangements that actually leave space for him to breathe. The story arc initiated here finds its next chapter in the subsequent track, "Bow Down." The song serves as both a logical continuation and a crucial evolution, propelling the narrator further down their path.

"100 Horses" exemplifies this aesthetic. An album highlight for sure. “All people must smile / In times of war” is one of the very first lyrics. The track careens between rock solid grooves and moments where everything seems ready to derail completely. Forging a sound that is as pioneering for the band itself as it is for the wider rock landscape, the track transcends mere music and brushes up against the philosophical. The lyrics, “General Adams told me / 'Son, you were born to die scared',” followed soon after by the devastating follow-up, “For all people must die scared or else die nervous,” serve as a stark reminder that existential dread is a relentless, ever-present companion.

The six-minute "Islands of Men" takes the opposite approach. It's the kind of track that rewards patience, revealing new details with each listen. "Husbands" builds tension through a single ascending riff, drummer Max Bassin adding nervous energy beneath Winter's wandering melodies.

Geese work may have influences from other big bands and artists. But it’s important that they aren't cosplaying these bands; they're having conversations with them, arguing and agreeing. This is the difference between tribute and transformation.

The production choices deserve special attention. Where most bands would smooth out rough edges, Getting Killed deliberately preserves them. Vocals occasionally disappear into heavy delay, instruments cut in and out unexpectedly, stereo panning creates disorientation rather than clarity. It shouldn't work, but it absolutely does. These "imperfections" give the album personality, make it feel alive in ways overly polished records never achieve.

Lyrics brimming with a desperate need for atonement and catharsis. Vivid imagery drawn from historical events and religious tableaux is masterfully woven into the intricate narrative the band aims to deliver. These themes, when paired with the band's chaotic soundscapes, leave the listener with a disquieting cocktail of emotion: unease, unmanageable tension, and moments of pure ecstasy. Yet, for all its ferocity, the chaos is never allowed to overpower the production; a rare and masterful feat of control that is all too uncommon in today's musical landscape.

This is Geese at their most confident: unafraid to sound messy because they trust their abilities enough to know messy doesn't mean amateurish.

Getting Killed positions Geese as one of indie rock's most essential acts precisely because they refuse to play it safe. The album's title might suggest finality, but Getting Killed feels more like rebirth. This is one of the best albums of the year. And maybe more than that. A perfect 10/10 album.

Geese has shed their earlier skins completely, emerging as a band capable of anything. Whether they'll continue in this direction or pivot somewhere entirely unexpected remains to be seen. Based on this evidence, the only certainty is that wherever they go next will be worth following.

Getting Killed is out via Partisan/Play It Again Sam

Connect with Geese: Website | Instagram

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  • Geese
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Angelos Andreosopoulos

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