About this item

Geese’s 'Getting Killed' lands like a seismic shock. Tracked in a whirlwind ten days in Los Angeles with producer Kenneth Blume (Kenny Beats), the band’s third album is a chaotic comedy, shambolic in structure but laser-focused in vision. It trades classic rock mythology for something stranger and more self-destructive, balancing big riffs and choir samples with lyrics about war, anxiety, and emotional ruin. The result is a jagged, joyfully unhinged triumph that was immediately heralded as the best rock album of the year.

The reaction has been explosive.

Thousands of tickets have vanished in minutes, streams and sales are surging, and co-signs are flooding in from Cillian Murphy to The Dare. Geese have even slipped into meme culture without lifting a finger, becoming that rare band that’s both dead serious and untouchable.

From New York’s dive bars to Times Square billboards, Geese have somehow spun pure chaos into unstoppable global momentum.

STAFF COMMENTS

Willow says: There’s very little ground not covered by this manic, sprawling masterpiece. A challenging and unique effort by a prolific collective of artists, ‘Getting Killed’s devilish genius is in the minutest of its many subtle details. Bombastic and cathartic at some points, subdued and hypnotic at others, the common threads through this album are the off-piste but considered instrumentation that elevate simple ideas to unexpected heights and, of course, Cameron Winter’s distinctive Walker-cum-Cave croon, at once comforting and unsettling.

In a year of both newer faces and veterans honing in on their areas of expertise and producing fantastic work, Geese have emerged as one of the biggest winners by deciding to have a go at one of everything - the biggest surprise not being that it works, but that it fits together so cohesively - typified by the lead single from the album “Taxes”, that in its short run time embarks on an ethereal journey through the various moods and styles that this project boasts. My personal favourite moments from the album are of course psychotic Doors-esque opener “Trinidad”, the Stones-y one-two punch of “Islands Of Men” and “100 Horses”, and the gorgeous closing track “Long Island City Here I Come”. Careful not to overstay my welcome in gushing about the grip this album has had on the Saturday squad since its relatively late entry into the year’s canon, suffice to say that this is a gem that will not lose its lustre with the passage of time.

TRACK LISTING

1. Trinidad
2. Cobra
3. Husbands
4. Getting Killed
5. Islands Of Men
6. 100 Horses
7. Half Real
8. Au Pays Du Cocaine
9. Bow Down
10. Taxes
11. Long Island City Here I Come