Getting Killed
by Geese

The negative reviews are funny. Try listening to the album more than once before embarrassing yourselves next time. At the beginning of my first listen, all I could hear was Thom Yorke doing a Mick Jagger impression as well. Eventually, and it shouldn't take long, you'll be able to appreciate the singer for his own self. It isn't as musically powerful as it is emotionally powerful, even though the music is still top notch. That's not an insult to the music, just a compliment to the vocalist, whom everyone's talking about. It's not often that such great musicians are overshadowed by a lead singer with a presence like this, but when that is the case, you know it's special and they're destined for greatness.

I haven't felt so emotionally drained and strained upon listening to a record since BCNR's first couple. It must be really hard to be this emotionally charged without getting cringey. I don't know if my tolerance for it is raising, but it took me less time to accept this than it took for other overly erratic, angsty, panicky, and/or desperate sounding vocalists. (Edited)

From MadhattanJack 04/14/2026 02:06 | #313916

It's a pretty good 2000's-style indie rock album, though some of the songs sort of get away from them control-wise, and not always in a good way. Personally, I think Cameron Winter's voice sounds a lot like Rufus Wainwright's, only it's deeper and a bit less nasal. Also, Wainwright has more of a "vague hint" of a southern drawl, whereas Winter's drawl is more pronounced. The only problem with this is that I don't really like Rufus Wainwright's voice either. (Edited)

I both understand the hype for this album and don't personally subscribe to the thinking that this is the album of the year of 2025. It's a great post rock album, but I think people's craving for good rock has got the better of them in this case. (Edited)

Can't decide if this is just a pale imitation of Radiohead and Thom Yorke or something genuinely worthwhile and interesting. Also can't decide if the singer wants to be Thom or Mick Jagger. It's one thing to be as challenging as Radiohead are post-The Bends, it's another thing to do it in a way that still appeals and shows genuine craft, rather than just saying "let's put some off beat drums here, that will challenge people". The one thing you can say is that there is no way they haven't put some thought process into it, which is all too rare right now. (Edited)

The rise and rise of Geese was definitely one of the most fun things to happen in 2025, even if it wasn't quite as unexpected as Cameron Winter's own explosion in popularity right at the end of the year before. 'Getting Killed' goes way beyond the band's previous efforts, sounding more original than 'Projector' and balancing melody and experimentalism better than '3D Country', which were both already solid records. There's a lot to like here, the songwriting is strangely catchy, lyrics have emotional weight without seeming like they're trying too hard, but the real triumph is how Winter's vocals are showcased. He's sounded decent across previous releases and had notably improved by 'Heavy Metal', with this record we're getting a clearer sense of his range, calling to mind artists like Justin Vernon or Anohni at different turns. Also, whilst not going for the gravelly quality of Tom Waits, his vocals remind me more of Tom Waits than anyone else. The result is a record with twists and turns, that can go from the chaos of 'Trinidad' to the sweeter melody of 'Cobra' or from the relaxed feel of 'Au Pays du Cocaine' to the infectious groove of 'Bow Down'.

Inevitably with something this varied there'll be tracks or sections that you like more than others and for me it's the second half where things really come into their own. The final three tracks stand out especially, 'Bow Down', while a bit simpler in its composition has one of the most dynamic vocal performances, going from near spoken word to strained, drawn out notes, a really fun instrumental break caps it off. 'Taxes' just builds and builds as the emotion of the whole things spills over with the line "I will break my own heart from now on". Finally, 'Long Island City Here I Come' carries even more momentum as almost every instrument becomes dedicated to rhythm letting another spotless vocal performance filled with drama and energy take off. Its a perfect place to end an album that makes you wonder what's next. (Edited)