Geese Getting Killed

Critic's Take

The review highlights several standout songs—"Trinidad," "Bow Down," "Taxes," and "Long Island City Here I Come"—for their evocative hooks, vocal turns, and rhythmic propulsion. "Trinidad" is noted for its delicate instrumentation and dramatic vocal shifts that grab attention. "Bow Down" is praised for its funky drive and climactic, ecstatic ending. "Long Island City Here I Come" and "Taxes" are singled out for lyrical one-liners and tense, interwoven instrumentation that build catharsis.

Key Points

• "Bow Down" is best for its funky propulsion and ecstatic climactic surge.
• The album’s core strengths are hypnotic, rhythm-driven songcraft, theatrical vocals, and tension between the mundane and apocalyptic.

Themes

Critic's Take

The review singles out 'Trinidad', '100 Horses', 'Cobra', 'Half Real', and 'Au Pays du Cocaine' as high points, highlighting their blend of chaotic energy and melodic beauty. 'Trinidad' is praised for its explosive, mayhem-filled opening and confrontational lyrics. '100 Horses' is noted for its war imagery and memorable piano resolution. The piano-driven moments on 'Cobra', 'Half Real', and 'Au Pays du Cocaine' are called aesthetically stunning, underscoring the album's mix of disheveled instincts and intricate melody. Overall the critic presents these songs as central to why Getting Killed feels like an instant classic.

Key Points

• Trinidad is best for introducing the album's mayhem and confrontational energy.
• The album's core strength is combining chaotic, satirical lyrics with intricate melodies and striking piano interludes.

Themes

Critic's Take

The review singles out Trinidad as the explosive opener and tone-setter, with JPEGMAFIA’s guest shouts and a volatile mix of wah-wah guitar, creeping bass, and explosive drums. It’s called an ideal introduction that lights the fuse, capturing the album’s apocalyptic, funny, and unhinged spirit. The piece frames the record as danger lurking around every corner while praising Winter’s fearless, expressive delivery. Overall enthusiasm for the album is high, but Trinidad is the clear standout discussed in depth.

Key Points

• Trinidad stands out for its explosive dynamics, unforgettable refrain, and JPEGMAFIA cameo, serving as the ideal, fuse-lighting opener.
• Getting Killed thrives on apocalyptic world-building, off-kilter noise-funk energy, and Winter’s fearless, unhinged vocals shot through with dark humor.

Themes

Critic's Take

The review singles out several tracks as highlights for how they push Geese’s sound: 'Trinidad' for its explosive, chaotic production and thrills; '100 Horses' and 'Half Real' for their inventive studio tricks and evocative drone/references; 'Husbands' and 'Bow Down' for unconventional grooves and off-kilter dance energy. Softer cuts like 'Cobra', 'Au Pays du Cocaine', and 'Islands of Men' are praised for melodic warmth and pacing. Overall the critic argues these songs demonstrate the band breaking molds and synthesizing post-punk, classic rock, and funky elements into their most creative record yet.

Key Points

• Trinidad is best for its exhilarating, chaotic production that sets the album’s adventurous tone.
• The album’s core strengths are adventurous production, genre synthesis, and daring songwriting that balances controlled chaos with melodic moments.

Themes

Critic's Take

The review highlights several standouts—Trinidad, 100 Horses and the title track—for their abrasive, inventive bursts and melodic hooks. Trinidad is singled out for its metal-style screaming and nightmarish cacophony. 100 Horses is noted for ramshackle maximalism, while the title track features frantic pile-ups of voices and grooves. Overall, the critic praises the band’s invention, irreverence and melodic knack despite occasional opacity and silliness.

Key Points

• Trinidad is best for its shocking transition from dreamlike soul to metal-style, nightmarish cacophony.
• The album’s core strengths are inventive songwriting, irreverent lyrics and melodic hooks set against sonic dissonance.

Themes

Critic's Take

Pitchfork hails Getting Killed as Geese’s strangest and strongest yet, spotlighting how their groove-driven, cyclical structures heighten both paranoia and tenderness. The review singles out Husbands and Bow Down as true stunners—one a soaring, singalong anthem, the other a gnarly chant that reframes their post-punk roots. 100 Horses is an ominously funky, obvious single, while Taxes supplies festival-ready catharsis and Half Real reveals a sharp-edged love song. The closer Long Island City Here I Come swells into a long crescendo, underscoring the band’s tension-and-release mastery under producer Kenneth Blume.

Key Points

• Husbands stands out as the review’s peak because it transforms Geese’s rhythmic drive into a soaring, singalong anthem.
• The album’s strength lies in its groove-based, improvisatory tension-and-release that marries paranoid urgency with heartfelt hooks.

Themes

Critic's Take

The review highlights several standout songs — notably 'Taxes', 'Cobra', 'Half Real', 'Husbands', and '100 Horses' — as examples of Geese’s sharpened songwriting and performance. 'Taxes' is called a catchy, cathartic rock hit while 'Cobra' earns praise for its nostalgic guitar melodies. The reviewer points to moments of intense lyricism and production detail across tracks, and singles like 'Trinidad' and 'Getting Killed' exemplify the album’s abrasive yet rewarding character. Overall, the critic frames the record as best appreciated as a whole while spotlighting those songs as high points.

Key Points

• ‘Taxes’ is the best song for its catchy, cathartic rock immediacy.
• The album’s strength is its detailed production and emotionally resonant lyricism best appreciated through full-album listening.

Themes

Critic's Take

Paste praises Getting Killed as a necessary, exciting rock record anchored by standout tracks that dramatize apocalypse and personal turmoil. The review highlights the title track, "Trinidad," "Taxes," "Husbands," and "Long Island City Here I Come" for vivid lyricism, striking performances, and memorable hooks. Cameron Winter's vocal affects and repeated refrains on "Trinidad" and the title track are singled out as commanding moments. Instrumentally, "Taxes" and "Husbands" are noted for soaring guitar and controlled stomps that exemplify the album’s unorthodox vitality.

Key Points

• The title track is best for its commanding vocal and apocalyptic lyric that crystallizes the album’s themes.
• The album’s core strengths are its vivid lyricism, instrumental unpredictability, and maximal, improvisational rock energy.

Themes

Critic's Take

The review identifies several standout tracks — particularly the title track, “Long Island City Here I Come,” and “Islands of Men” — as the album’s pinnacles because of their extended jams, emotional peaks, and inventive arrangements. Praise centers on the band’s unity and rhythmic propulsion, with producer Kenny Beats foregrounding the rhythm section to powerful effect. Winter’s vocals and lyrics provide dramatic, often surreal moments that elevate songs from boogie or funk into cathartic conclusions. Collectively these high points exemplify Getting Killed’s success as a cohesive, daring record rather than a pastiche.

Key Points

• The closer “Long Island City Here I Come” is the album’s emotional and inventive apex.
• Getting Killed’s strength lies in band unity, prominent rhythm section, and extended, genre-blending jams.

Themes

Critic's Take

The review highlights several standout songs, singling out “Taxes” as the album’s pinnacle for its allegorical lyrics and dramatic mid-song upshift. “Cobra” and “Au Pays du Cocaine” are noted as moments of respite—Cobra a cooing balm and Cocaine a pretty pirouette. The opener “Trinidad” showcases Bowie-esque electronics before devolving into wild shouts, while “Half Real” is Piano-driven and Tom Waits–ian. Overall the record is praised as the band’s tightest, most serious, and best effort yet, anchored by these standout tracks.

Key Points

• “Taxes” is best for its allegorical lyrics and a standout mid-song upshift that the reviewer calls the album’s pinnacle.
• The album’s core strengths are its percussive, beat-heavy production, thematic weight (biblical and apocalyptic), and moments of melodic respite.

Themes

Critic's Take

The review highlights several standout tracks — notably "Trinidad," "Half Real," "Islands of Men," "Au Pays Du Cocaine," "Bow Down," "Husbands," and the title track — for their vocals, atmosphere, and songwriting. Cameron Winter's vocal feats on "Trinidad" and the moody croons on "Half Real" are singled out as exhilarating. "Islands of Men" and "Au Pays Du Cocaine" are praised for their cinematic grooves and noir atmospheres, respectively. Lyrical detail on "Bow Down," "Husbands," and "Getting Killed" is noted as emotionally potent, supporting the album's ambitious art-rock identity.

Key Points

• "Trinidad" is best for its chaotic intro and vocal feats that showcase Winter's range.
• The album's core strengths are bold vocal performances, cinematic atmospheres, and vivid lyrical imagery.

Themes

Critic's Take

The review highlights several standout tracks — notably '100 Horses', 'Au Pays du Cocaine', 'Taxes' and 'Long Island City Here I Come' — as evidence of the band's maturation. Praise centers on the band's exploratory production and focused songcraft, with specific nods to swaggering '70s rock and singalong tenderness. The title track and 'Trinidad' are noted for experimental elements that broaden the album's palette. Overall the critic frames these songs as the moments that justify the band's hype and mark them coming of age.

Key Points

• ‘100 Horses’ is best for its ’70s stadium-rock swagger and pointed anti-war message.
• The album’s core strengths are exploratory production balanced with focused songcraft and accessible hooks.

Themes

Critic's Take

NME hails Getting Killed as a bold, free‑spirited leap where experimentation never eclipses control. Taxes emerges as the standout, praised for its syncopated build, chiming Stone Roses‑like topline, and striking, sermon‑tinged lyrics. The opener Trinidad sets the album’s weird, thrilling tone with noodling guitars and wailing over discordant noise. The title track Getting Killed intrigues with a bluesy riff and a Ukrainian choir loop, underscoring the record’s spiritual shimmer. Together, these highlights show a band expanding their palette while sharpening their impact.

Key Points

• Taxes stands out for its syncopated lift, chiming guitar topline, and vivid, sermon‑like lyrics that embody the album’s spiritual streak.
• The album’s core strength is adventurous, free‑spirited experimentation that remains tightly controlled, yielding warm yet unconventional rock’n’roll collages.

Themes

Critic's Take

The review highlights the title track "Getting Killed" and closer "Long Island City Here I Come" as the album's best moments for their theatrical, charged performances. "Trinidad" is praised for its blistering, mosh-ready opening energy. Overall the critic admires the band's talent and evocative '70s pastiche but finds the affect occasionally feels like dress-up rather than fully lived-in.

Key Points

• "Long Island City Here I Come" is the best moment for its charged, theatrical climax combining menace and ecstasy.
• The album's strengths are skilled pastiche of '70s rock and catchy, captivating performances, though occasionally feeling performative.

Themes