Indikatoren für ein starkes Album könnten sein: Metacritic, denn dort steht „Getting Killed“ aktuell bei 90/100 Punkten, die Hitparaden in Australien und Neuseeland, denn nur konnte das vierte Album von Geese bisher zu Chart-Ehren kommen (#22 bzw. #39) und meine Kollege Florian, der beim Hören der 11 Songs Clap Your Hands Say Yeah-Feelings bekam, was als Kompliment zu verstehen ist und sicherlich auch mit der quengelig, expressiven Stimme des Sängers zusammenhängt. Die Korrelation dieser drei Variablen müsste allerdings noch genauer untersucht werden.
Zu der 2016 in Brooklyn, New York gegründeten Band gehören aktuell Cameron Winter (Gesang, Keyboards, Gitarre), Emily Green (Gitarre), Dominic DiGesu (Bass) und Max Bassin (Schlagzeug). „Getting Killed“ wurde von Geese zusammen mit Kenneth Blume aka Kenny Beats, der auch schon für Idles, Benny Sings oder Vince Staples arbeitete, produziert und innerhalb von 10 Tagen in dessen Studio in Los Angeles aufgenommen. Das Album ist als black Vinyl, vlear Vinyl, pink and blue Marble Vinyl und transparent blue Vinyl erhältlich.
Hören wir doch einmal in den chaotischen, experimentellen Alternative Rock, der sich irgendwo zwischen Beck, Ween, Squid und Black Country, New Road bewegt, hinein und lesen dazu ein paar Lobhudeleien:
There’s so much going on in this album that it feels like it would have been easy for the five-piece to lose sight of the bigger picture, yet for all its abrupt shifts and intricate details, ‘Getting Killed’ somehow doesn’t ever feel like there’s too much at play or like its creators aren’t in complete control. Instead, this is a band living up to their reputation as exhilaratingly free-spirited, not so much proving they deserve all the accolades and fervent fanaticism bubbling around them but demanding it.(NME)
Whatever it is, Getting Killed rounds up the anxiety, desperation, and existential dread of 2025 and delivers it in a way that no other band alive could. Such an adept distillation of a tumultuous era is rare, and Getting Killed is an equally uncommon instant classic that should prove to be as valuable to its audience as those aforementioned indie-rock cornerstones once were in the late 90s and early 00s. It’s a different beast than those were, sure - but that’s the point. Getting Killed blazes a new kind of trail for a new kind of time. As Cameron Winter sings on the final verse of the towering closer: “I have no idea where I'm going. Here I come.”
The band sounds at once locked-in and reckless, as if they’ve discovered how to weaponize sloppiness and sprawl into pure momentum, and the result is never anything less than thrilling. “Cobra” lets some tenderness seep in without softening the surrounding pandemonium, while the title track is a swaggering, funk-driven workout featuring a Ukrainian choir sample, pausing just long enough for Winter to confess, “I’m getting killed by a pretty good life/I have been fucking destroyed by the city tonight,” before spiraling back into another delirious freak-out.Even at their most excessive and baroque—“100 Horses” rides militant repetition into a hypnotic frenzy, with guitars screaming and drums tumbling over themselves—Winter and company keep their wilder instincts grounded. These songs are meticulously constructed, their apparent disorder anchored by an exacting attention to texture, momentum, and tension.
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