In an era often defined by polished, algorithm-friendly pop, there is something undeniably refreshing about the raw, frenetic energy of Brooklyn’s own Geese. Often hailed as “Gen Z’s first great American rock band,” the four-piece has transcended their high school origins to define the sound of the mid-2020s. With their defining 2025 record, Getting Killed, Geese haven’t just released an album; they’ve unleashed a sonic manifesto of dark absurdity and rhythmic brilliance that demands attention.
From High School Hallways to a Label Bidding War
The story of Geese is one of serendipity. Comprising childhood friends Cameron Winter (vocals/keys), Emily Green (guitar), Max Bassin (drums), and Dominic DiGesu (bass), the group was originally destined for dissolution. They formed in high school with the pragmatic expectation of splitting up before heading off to college. Fate, however, intervened in the form of their early demos, which ignited a fierce record label bidding war instead of a farewell party.
Reflecting on the pivotal moments during the global standstill of 2020, frontman Cameron Winter noted the surreal nature of their ascent. “I probably had the best April 2020 of anyone on Earth,” he told GQ, referencing the flurry of life-changing video calls he fielded during the first Covid lockdown. Since 2021, the band has dropped three albums, but it is Getting Killed that has cemented their status, drawing acclaim from casual listeners and industry veterans alike.
The Making of Getting Killed: 10 Days of Controlled Chaos
Getting Killed is not a product of over-thinking; it is a product of instinct. The album originated as a series of experimental jam sessions and was recorded in a blistering 10-day stint in Los Angeles with renowned producer Kenneth “Kenny Beats” Blume.
The result is a record that sounds savage and unpredictable. While traces of legendary influences like The Velvet Underground, Captain Beefheart, Suicide, The Strokes, and Radiohead are audible, Geese have alchemized these sounds into something entirely new and original.
The recording process, however, wasn’t without its growing pains. “I remember it took us a little bit to get the wheels turning full speed,” bassist Dominic DiGesu admitted. Working with Kenny Beats for the first time meant the band had to navigate a new creative relationship, figuring out “where to give space and when to be more hands on”.
Lyrical Wisdom and Wonderful Nonsense
At the center of Geese’s rhythmic storm is Cameron Winter. His lyrics are a sharp, unfiltered stream of consciousness that cuts through the noise of superficial relationships and societal decay. The music is described as full of dread, misdirection, and dark absurdity, capturing the tangible tension of a world where comfort and terror co-exist.
Winter’s delivery swerves wildly between incisiveness and irreverence. On the lead single “Taxes,” he defiantly chants, “If you want me to pay my taxes / You’d better come over with a crucifix”. It’s a line that perfectly encapsulates the band’s ethos—wisdom wrapped in wonderful nonsense. DiGesu believes these lyrics resonate because, despite being broad, they apply to “a lot of real world situations”.
Mario Kart and the “Grind”
Despite their critical success and “grinding” work ethic, Geese remain quintessentially Gen Z. To blow off steam during intense sessions, the band engages in frenzied tournaments of Mario Party and Mario Kart on the Nintendo Switch.
Their character choices offer a glimpse into their personalities:
Cameron Winter: Usually goes Donkey Kong.
Max Bassin: Prefers Monty Mole.
Emily Green: A fan of Shy Guy and the heavy-hitting Conkdor.
Dominic DiGesu: Stays loyal to Luigi.
“None of us are changing as people, though,” DiGesu insisted. “We all have the same mindset and are just super excited that other people like what we like”.
The Live Experience: Anticipation and Challenge
As Geese prepares to wing their way around the world for a string of sold-out gigs, they are constantly refining their live show. Tracks like “Trinidad,” the wild opener from their last album, have become powerful live anthems where the band plays with crowd anticipation, dragging out the intro to drive fans crazy.
However, translating the complex layers of the Geese band Getting Killed album to the stage presents challenges. DiGesu noted that the melodic single “Cobra” has been “hard to capture live”. “It’s hard to make a beautiful song with a lot of little parts sound the same with just us five playing our usual instruments,” he explained, referring to the core four plus touring member Sam Revaz.
Final Thoughts
Geese are a band that seemingly enjoys toying with expectations—and journalists. When asked for a lyric worth tattooing, DiGesu bypassed the profound for the vivid imagery of their track Au Pays Du Cocaine: “Maybe a really small sailor on a big green boat”.
Whether it’s a goose driving a car with a bomb in it or a poignant critique of modern life, Geese are writing the soundtrack for the future, one chaotic jam session at a time.
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