Geese’s Getting Killed is modern rock classic.
Getting Killed is the fourth studio album by everyone’s favorite Gen-Z rock band Geese. The album was released in late September this year, following the release of three pre-release singles.
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“There’s a bomb in my car!” Goosebumps. It’s been a while since I heard experimental blues done so well.
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“You should be shame’s only daughter.” Oh wow. That’s rich. Impassioned performances and great writing persist. No complaints.
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The writing isn’t dense, but the few lines that appear aren’t wasted in any bit. It’s been breathtakingly impressive how not much is being said, but the pictures are being communicated so vividly.
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The track carries on for most of its runtime as a regular fast-paced rock track, but the last batch of lyrics and instrumentation flips the script.
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Just like its predecessor, “Islands of Men” progresses seemingly straightforward enough, only for us to be treated to a nice splash of production decor at the end.
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“There is only dance music in times of war.” I love the way the quirkiness of Cameron’s performance masks the poetry in the lyrics.
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At this point, I’m just wondering why this album can’t go on forever, even though I’m barely halfway through the tracklist. “Half Real” is a radically romantic love ballad that aims to go to the lengths of even getting a lobotomy to prove the nature of one’s affection.
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Another love ballad, though this time more tranquil, “Au Pays du (’de la,’ actually, but that’s another conversation) Cocaine” is apparently a reference to Pieter Bruegel’s The Land of Cockaigne. The song’s lyrics essentially just say “baby, please come home,” but paired with the title, the track’s message has a more artsy feel to it. Lyrics aside, it’s a bright spot in terms of performance and instrumentation.
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Vocals, Keyboards, Guitar
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Great writing once again. The speed is ramped up a bit, resulting in a bit of a catchy feel this time.
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“Taxes” echoes the sentiment of the decade. “If you want me to pay my taxes, you’d better come over with a crucifix; you’re going to have to nail me down.” Period. It’s almost a tearjerker, honestly.
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One last excitingly charged performance to close the album. And that’s a beautiful wrap.
Forgive the brevity in my per-track comments; I felt it best to detail my thoughts overall in the summary section. A lot of the album does feel the same, but in a very good way. Overall, we’re getting great writing and great performances, both vocally from Cameron and instrumentally from the band as a whole. It’s one of those albums that feels like it didn’t aim to be anything grand but ends up becoming a cult classic. And that’s just the way I can describe something like this: cult classic. I can’t thank these guys enough for teaming up to create this project. It’s not necessarily a “masterpiece” per se; it feels more like a staple.
Thank you, Geese.
Show Album Credits
Vocals, Keyboards, Guitar
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