"What begins as an exercise in dreamlike, deconstructed soul soon erupts into a nightmarish cacophony of erratically parping brass, scrambled guitar and the shrieked refrain: There's a bomb in my car! Geese: Getting Killed Getting Killed ripples with a timely dread: a combination of sonic dissonance 100 Horses' ramshackle maximalism, the title track's frantic pile-up of voices and grooves and surreal, sardonic lyrics."
"Yet unease also stems from the creeping suspicion that these songs double as private jokes Geese are school friends and rock music itself is the butt of them: profundity is routinely undercut by silliness (like a sailor in a big green coat, you can be free) while gorgeous Van Morrison-esque melodies are delivered in a ludicrous warble. Getting Killed can be opaque, but its brilliance is still obvious: the invention, the irreverence, the melodic knack, the swagger all great bands require."
Cameron Winter's solo debut Heavy Metal achieved industry success despite its ironic title, offering droll, desolate dirges that recall Leonard Cohen and Tom Waits. The opener Trinidad on Geese's fourth album erupts from dreamlike, deconstructed soul into nightmarish cacophony with metal-style screaming, parping brass, scrambled guitar and a shrieked refrain about a bomb. Getting Killed Getting Killed combines sonic dissonance, ramshackle maximalism and frantic vocal pile-ups with surreal, sardonic lyrics that undercut profundity with silliness. Gorgeous Van Morrison-esque melodies appear through ludicrous warbles. The record balances invention, irreverence, melodic knack and swagger, producing unsettling yet compelling songs.
Read at www.theguardian.com
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