Brooklyn’s Geese have arrived at a daring new turning point with Getting Killed, released September 26, 2025 via Partisan / Play It Again Sam. The album, co-produced with Kenneth Blume (formerly known as Kenny Beats), emerges as their most ambitious, unpredictable project yet.
From the opening gambit, “Trinidad,” with its primal howl — “There’s a bomb in my car!” — Geese announce their intent: to blur expectation, to provoke, to shatter the neat lines of indie rock. That track alone swings from deconstructed soul to metallic shrieks, brass eruptions, and chaotic grooves.
From that point onward, Getting Killed is a volatile landscape, alternately fierce and vulnerable. “100 Horses” roars forward with unwavering momentum and existential tension. “Husbands” offers a more haunting side — lyrics that feel like private jokes shouted into a void: “there’s a horse on my back / and I may be stomped flat.” Elsewhere, tracks like “Au Pays du Cocaine” offer moments of fragile calm, with soft instrumentation and emotional space.
What distinguishes this album is how it balances the jagged and the tender. Geese refuse to settle — every track feels like a negotiation between control and collapse. The rhythm section, led by Max Bassin, drives the album with muscular confidence, even when the textures fracture around it. Meanwhile, guitarist Emily Green and bassist Dominic DiGesu shift between grooves and dissonant lines that unsettle as much as they captivate.
Cameron Winter’s voice has always been distinctive — here, it feels both more centered and more volatile. He can sound weary and raw in one line, erupting into a scream the next. His lyrical world is full of contradictions: absurdity, social critique, existential dread, and flashes of romantic longing. Lines like “All people must die scared or else die nervous” from “100 Horses” carry an odd gravity.
At times, the jarring shifts — from noise to melody, from chaos to restraint — can feel abrupt, even disorienting. But that is part of the design: this is a record constructed to resist complacency. It’s not about comfortable resolution, but confrontation, presence, and fractured beauty.
Rating: 8.7 / 10
Getting Killed is not flawless — it’s messy, sometimes overwhelming — but it’s also thrilling, emotionally fearless, and defiantly unpredictable. For a band still in their ascendancy, this feels like more than a statement: it’s a leap.