Geese 'Getting Killed' reviewed

Geese is a New York rock band, but “rock band” almost undersells what people hear on Getting Killed. The album came out on September 26, 2025, and it has kept hanging around in the conversation because it sounds unstable in a very deliberate way — loud, weird, melodic, funny, and occasionally kind of beautiful. What changed this week is not the album itself. It’s that smaller review channels are still picking it up months later, which tells you the record has moved from release-week buzz into something closer to durable indie canon. (albumoftheyear.org) (geeseband.com) ### What kind of album is this? Getting Killed is Geese’s third studio album, released by Partisan and Play It Again Sam, and the broad tag cloud around it is art rock, indie rock, psych, and art punk. Those labels are all true, but none really capture the feeling. The record keeps swerving — from chanty grooves to blown-out guitars to oddly tender ballad-like stretches — without sounding random. ### Why do people keep calling it chaotic? Because the band built it fast and left a lot of the edges showing. (partisanrecords.com) Partisan’s own album writeup says Geese recorded it in Kenneth Blume’s Los Angeles studio over 10 fast-paced days, with little time for overdubs. That matters. The songs feel like they’re being discovered in real time, not polished into obedience. Basically, the mess is part of the design. ### What actually sticks on first listen? The tracklist helps. “Trinidad,” “Cobra,” “100 Horses,” “Taxes,” and the closing “Long Island City Here I Come” keep popping up in reviews and fan discussions, while even a big mainstream YouTube review singled out “Trinidad,” “Getting Killed,” “Islands of Men,” “100 Horses,” “Au Pays du Cocaine,” “Bow Down,” and “Taxes” as favorites. (partisanrecords.com) That spread tells you the album isn’t living off one obvious single. People are attaching to different corners of it. ### Why does Cameron Winter matter so much here? Because Geese’s recent leap seems tied to him becoming a clearer songwriter without getting less strange. One strong review framed Getting Killed as the band leaning into the emotional clarity that opened up after Winter’s 2024 solo album Heavy Metal. You can hear that on this record — the songs are still warped, but they hit harder because there’s more feeling under the noise. ### Is this just critic bait? Not really. Critics loved it — Album of the Year shows an 88 average from 27 reviews — but listeners showed up too, with an 85 user score and more than 16,000 ratings there. (store.partisanrecords.com) That’s the useful clue. This is not one of those records that gets praised in tasteful paragraphs and then disappears. It seems to have actually landed. ### Why are people still reviewing it now? Because some albums have a second life once listeners catch up. Release-week coverage tells you what’s new. (thefirenote.com) Late review videos tell you what’s lasting. Getting Killed seems to be in that phase now — still weird enough to argue about, but established enough that smaller channels can treat it as a record worth revisiting rather than merely announcing. ### Does that connect to the tour? Yes — and this is where the story stops being just about reviews. Geese’s official site shows a heavy 2026 schedule with Primavera, Governors Ball, Bonnaroo, Lollapalooza, Outside Lands, and a long fall run of headline dates, including multiple sold-out shows. (albumoftheyear.org) That kind of calendar suggests Getting Killed has become the engine for a much bigger live phase. ### So what’s the real takeaway? Getting Killed looks less like a moment and more like a graduation. The album gave Geese critical consensus, repeat-listen depth, and enough momentum to keep pulling in new listeners months after release. (youtube.com) In indie rock, that’s usually the difference between a promising band and one that has actually arrived. (albumoftheyear.org) (geeseband.com)