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- Summary: The latest full-length release from Brooklyn rock band Geese was produced with Kenneth Blume (formerly known as Kenny Beats).
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- Record Label: Partisan
- Genre(s): Pop/Rock, Alternative/Indie Rock
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Score distribution:
- Positive: 18 out of 19
- Mixed: 1 out of 19
- Negative: 0 out of 19
- Sep 23, 2025This 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.
- Sep 24, 2025In a parallel universe, Getting Killed would be the album that catapults Geese into superstardom. .... This is Geese’s finest album to date, and one that will no doubt find its way on to many people’s best of the year list.
- Sep 29, 2025Getting 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.
- Sep 30, 2025The result is a project that frequently sweeps the listener into a trance, ruptures that trance, and then reestablishes it.
- Sep 26, 2025Getting Killed can be opaque, but its brilliance is still obvious: the invention, the irreverence, the melodic knack, the swagger all great bands require.
- Sep 24, 2025Getting Killed establishes the band as amorphic, an ever-growing blob of raucous rock that thrives in the unpredictability it has put into place. Rather than select one of the many sonic worlds that gave Geese this pedestal they stand on, the band decides to dive deeper into their loftiness on Getting Killed, creating a sprawling LP that never loses focus, yet never feels the need to linger too long.
- Sep 23, 2025Geese build up to the album's conclusion: a charged and accelerating train ride, 16 stops from Brooklyn into the darkest parts of "Long Island City Here I Come," Winter issuing poetic threats that crosswire Bob Dylan and Van Morrison into a barroom bible-mishmash scored by screaming guitars. It's a thrilling exit point, full of ecstasy and menace, but it still feels a little like dress-up rather than lived-in.
