Song of the Day: “Getting Killed” by Geese

Jan 12, 2026

If you thought Brooklyn’s Geese peaked when they successfully convinced everyone that a “3D Country” was a real musical genre, their September 2025 release Getting Killed proves they are still very much in the business of confusing and delighting us in equal measure.

Side Note: Geese emerged in 2021 as a group of teenagers who were immediately compared to The Strokes. To avoid being seen as just another New York indie-rock “post-punk” band, they pivoted toward this “3-D Country” aesthetic to show off their technical chops and a more “arrogant,” experimental side of their musicianship. It isn’t a traditional music genre but rather a surreal, maximalist reimagining of American roots music. Musically, the band describes the genre as an attempt to “do a lot more” compared to the minimalist approach of their first record. It’s characterized by taking classic country licks, honky-tonk pianos, and bluesy riffs but warping them with sudden tempo shifts, screaming vocals, and chaotic “explosions” of sound. The result is a sound that feels like “going to the circus and instead of having a good time, everyone is trying to kill you,” as described by the band’s drummer, Max Bassin.

Following frontman Cameron Winter’s solo detour into piano-heavy crooning, the band has reunited to produce a record that sounds like a car filled with pots, pans, and expensive synthesizers being driven down a very bumpy road. It’s loud, it’s scratchy, and it’s arguably the most “New York” thing to happen in the 2nd half of 2025.

Produced by Kenny Beats, the album moves away from the slicker “gospel-rock” of their previous effort and leans into what can only be described as a frantic pile-up of influences. You’ve got Ukrainian choral samples, “Beefheart-ian” wobbles, and lyrics that alternate between biblical references and threats to the IRS. It’s an album that spends its time trying to set off every alarm in the building just to see who stays to dance. Winter’s vocal style has evolved into a “siren-adjacent” warble, shifting from a Tom Waits growl to a frantic shriek at the drop of a hat.

Today’s SOTD was a toss-up between “100 Horses” and the title track, “Getting Killed.” But, if you’re going to name your album something as dramatic as Getting Killed, the song itself needs to feel like a high-stakes emergency, and this track delivers on that promise with a disturbing amount of enthusiasm. This track features a relentless, syncopated funk rhythm that showcases drummer Max Bassin as the foundation for an industrial guitar riff that sounds like a circular saw hitting a piece of sheet metal, layered over a bassline that is far funkier than it has any right to be. It is the “thesis” of the record: a chaotic, high-energy response to a chaotic, high-pressure world, and a track that will hopefully define their live sets for the next several years.