Geese broke out of the 2010s Brooklyn rock scene, becoming one of the most respected post-punk groups worldwide. Their music ignited intense discussions among critics, creating a narrative about the band that is as imaginative as their music.

Introduction

Guitarist Emily Green attacks each ear independently with warbly, borderline-funky licks, mixed in harsh stereo. Winter then enters softly, tapping into his falsetto, only for the whole thing to explode on a dime with horns, new tracks of instrumentation that cut in and out like they’re malfunctioning, and screams of, “THERE’S A BOMB IN MY CAR!” As the tune progresses, it only becomes increasingly chaotic with heavily delayed vocal lines, more hard-panning, and drummer Max Bassin’s multilayered percussion, which sounds like an earthquake hit a middle school band room. On paper, it sounds like a track at risk of being an incoherent mess; in your headphones, it sounds absolutely exhilarating.[1]

Jonah Krueger, “Geese Come Alive with Getting Killed,” Consequence

Geese have become the subject of an intensely imaginative rock discourse in recent years. Out of it rose a band narrative as complex, contradictory, and addictive as the group itself. 

Beginnings

Geese formed in 2016 in Brooklyn, New York. The current members are Cameron Winter (vocals, keyboards, guitar), Emily Green (guitar), Dominic DiGesu (bass), and Max Bassin (drums), with keyboardist Sam Revaz joining for live performances.

The band originated while its members were in high school at Brooklyn Friends School and Little Red School House, practicing and recording in Bassin’s basement. The name “Geese” comes from a nickname for guitarist Emily Green. The band has released four studio albums: A Beautiful Memory (2018), Projector (2021), 3D Country (2023), and Getting Killed (2025).

There appears to have been no press coverage of the band from its formation in 2016 through the first half of 2021, when they signed a record deal with a well-known label. This speaks volumes about the lack of an “early alert” system in rock journalism today.

And so, when Geese independently released their debut album, A Beautiful Memory, in summer 2018, it received little or no press attention. The lack of press coverage continued into 2020.

But by the mid-2020s, the band’s self-produced demos attracted the attention of several record labels. This led the teen band to sign with Partisan Records, an independent label in Brooklyn.

First Press Coverage

A year later, in June 2021, Geese released their debut single on Partisan, “Disco.” The U.S. was still reeling from the COVID-19 shutdowns. “Disco” mirrored that state of crisis, exhaustion, and pent-up energy. 

The single garnered the band its first press attention. Reviewers from BrooklynVegan heard the song and put it on a list of recent releases. The online culture magazine, founded as a foodie newsletter, had evolved into an effective showcase for emerging rock artists.   

The uncredited writers let the band speak for itself:  

“‘Disco’ was our first big step forward as a band,” say Geese. “It’s a very urgent and restless song, which was indicative of all our headspaces at the time. ‘Disco’ has a lot of organized chaos at its core; the music, the lyrics, and even the way we recorded it all speak to a sort of manic energy we were all working through. It’s a song that sounds like it’s perpetually on the verge of collapse – and yet it always manages to keep itself together.[2]

This passage likely came from a press release for the song. But it captured the essence of the Geese aesthetic – a teetering yet enduring stability. 

Indie-Rock Hype Machine

Thus began the first narrative about Geese, sparked by a quote from an unidentified band member, likely Winter.

According to this narrative, Geese’s music evoked a sense of urgency and chaos. It expressed the kind of “manic energy” caused by a situation “on the verge of collapse,” that could “explode at any moment.”[3]

Like many artists before them, Geese discovered that releasing a single on a respected independent label could attract online rock critics. In addition to the Brooklyn Vegan writers, “Disco” caught the attention of Bobby Olivier at Spin. The venerable print magazine had gone online in 2012.

In “Geese Reignites Brooklyn’s Indie-Rock Hype Machine,” Olivier began with an imaginative description of “Disco,” which he called a “six-minute avalanche of loopy post-punk and biting prog-rock – imagine if the Strokes made a Yes record.” Olivier said, “The song jabs and grooves, traversing a half-dozen distinct passages as it mirrors the jagged rise and fall of a dysfunctional relationship.”[4]

These reviews in Spin and Brooklyn Vegan embodied a set of constructive oppositions, including stability/instability, post-punk/prog-rock, continuity/discontinuity, and function/dysfunction. This aesthetic formation would continue to underpin Geese reviews.

Olivier’s review also included a band narrative:

The band’s brief history is refreshingly organic; no TikTok superstardom or YouTube virality. They all mostly went to school together, formed the band as young teens, wrote songs, decided to record an album in Bassin’s basement – sneakers as mic stands, blankets draped over the amps –  and shopped it to labels, which quickly descended on Geese.[5]

In other words, Geese came about through the natural camaraderie of adolescent rock musicians. They eschewed chasing internet hits for DIY recording as a means of securing a contract with an indie label that got their sound.

Projector

The “Disco” reviews, from respected sources, validated the band’s idiosyncratic sound. The buzz landed them spots on festival lineups.  

During that time, Geese prepared to release their second studio album, Projector. They sent review copies of the album to critics in the fall of 2021. Because it was their first album for a major record label, most critics considered it their debut.

One of the album’s first reviewers was Jim Farber, the prominent New York Times rock critic. Farber recounted Geese’s jump from playing Brooklyn clubs to playing large festivals, “a considerable leap for a band that has barely played more than a dozen gigs.”[6]

Farber contextualized the band’s origin within New York’s downtown rock scene:  

… mania and nervousness have served as prime muses for the band’s sound … Inspired by both the complexities of prog-rock and the angularity of post-punk, Geese makes dense and frantic music, centered on the bracing interaction between the two guitars. The band’s sound presents a virtual Venn diagram of New York underground rock history, with overlapping references to Television, the Feelies, Swans, and the Strokes.[7]

By putting Geese in this illustrious company, Farber validated their music —something every fledgling band needs to kick-start a career.   

A Stentorian Yawp

Geese’s transgressive music inspired imaginative prose from critics who struggled to articulate the band’s sound. For instance, Tim Sentz of Beats Per Minute wrote that “no generic genre label can really define what bands like Geese are doing … Cameron Winter’s voice has a putty-like consistency, flexible, able to shift and bend to fit the direction his flock is going in.”[8]

Projector inspired Rolling Stone to publish their first piece about Geese. Written by veteran writer Jon Dolan, the article title expressed their youth culture bona fides: “Geese Are Legit Indie-Rock Prodigies, Straight Out of High School.”[9]

Dolan, like Farber, noted Geese’s similarities to other bands:

You can hear NYC guitar zone-out Zen masters like Television, the Feelies, and Parquet Courts; the early-’00s neo-New Wave and dance-punk of the Strokes, the Rapture, and LCD Soundsystem; scads of art-spaz stuff from DNA to Deerhoof to Black Midi; and even a flash of prog touchstones like Yes and Radiohead. [10]

He added:   

Sometimes you can hear it all cross-pollinating within the space of the same three-minute song, making for an album that rewards both short attention spans and deep listening. It’s a real treat to hear them zip between sonic epiphanies.[11]

Dolan noted the play of oppositions in Geese’s music:

At their best, Geese connect … two impulses — their fidgety side and their dreamy side coming together to make music that’s at once driving and disoriented, undercutting its man-size musical command with the youthful wonder, ambivalence, and worry you’d expect from sharp teenagers.

He ended by calling “Disco” a good “metaphor for coming of age in the horror-show reality of 2021.” The U.S. had just passed 700,000 COVID-19 deaths, and lockdowns continued. [12]

Post-Punk’s Trust-Fund Kids

Dolan gave Projector four out of five stars. However, Ian Cohen of Pitchfork wasn’t as generous, giving the album a 6.6 on their 0-10 rating scale.

Indeed, Cohen’s November 2021 review stands out among the otherwise positive reviews the record received. Although impressed by the band, Cohen found Projector derivative:

Is Projector the result of prodigious talent meeting uncanny inspiration or just what happens when kids in their formative years apply their seemingly unlimited enthusiasm and attention towards a singular obsession, following a well-worn path?

… Geese have yet to find their voice. Winter jives in a half-falsetto … before settling on his dominant mode, an affected yawp … What Winter hasn’t done yet is develop a distinct narrative personality that can make his blasé delivery feel earned, rather than a conscientious stylistic tic.

Projector is best appreciated not as the work of post-punk’s resurrectors but as its cocky, charismatic trust-fund kids: unconcerned with the legitimacy of their inheritance and confident that there’s no way they can fail.[13]

It seemed as though Cohen sought to counter the press accolades for Geese. He saw a young band-in-the-making, still constructing a collective identity. Taken the right way, such criticism can motivate artistic growth. Cohen’s review highlights that, except for his, the Projector reviews were uniformly positive. But the album certainly had its weaknesses; no record is perfect. 

3-D Country

The negative Pitchfork review failed to dampen Geese’s snowballing popularity. The band conducted a successful tour of North America in March and April 2022. That year, they also performed at several festivals, including Shaky Knees and Desert Daze.

A year later, in spring 2023, Geese finalized their third album, 3D Country.

In announcing the album, the online magazine Consequence quoted Drummer Max Bassin that listening to the album “feels like going to the circus and instead of having a good time, everyone is trying to kill you.”[14] Sounded like the premise for a Netflix horror-noir series.

Winter told Consequence that the title song’s lyrics spun a most unusual tale:

The lyrics are this story I had about a cowboy who does psychedelics in the wild west and fries his brain forever. I was imagining, at first, he’s this stoic, masculine character, like out of a Cormac McCarthy novel, but then he unravels and sees his past lives in Ancient Rome and the Great Wall of China. Similarly, the music is an amalgam of a lot of different country licks, a gospel-ish call-and-response part, things we typically wouldn’t do, but we wanted to push them through this textured, strange, psychedelic lens. We kept jamming around this one groove that’s in the verse for 10 minutes at a time and then went back to take the best 30-second bits to piece it all together.[15]

A New Direction

Three months later, in June 2023, the band advanced copies of 3D Country to the network of publications with which they had established relationships after the release of Projector.  

One of these was Rolling Stone, which published one of the first reviews of 3D Country. Writer Ian Blau liked the band’s new direction. But he also questioned the band’s narrative as “a great indie-rock success story,” which left them with a “lot of hype to live up to for a sophomore album.”[16]

Blau attempted to provide a more balanced account of the band’s music, including their weaknesses:

Geese’s experiments in maximalism don’t always fully land. A few moments feel cluttered, and the more chattery sections of backing vocals distract from the overall drive of the music.[17]

However, Blau wrote, Winter “shines throughout the album … shape-shifting between a yelp, spoken word, and nasally chant … or showcasing a more robust version of Alex Turner-style crooning … he contorts his voice to fit any set of lyrics or musical style.”[18]

Blau wrote that “Geese can keep it tight even where they’re stretching out … stopping and starting in unpredictable blues-rock jolts, before ending in a hardcore curveball that sounds like a Jerome’s Dream B-side in its burst of distortion and screaming.”[19] In finding an apt comparison to Geese’s idiosyncratic sound, Blau reached deep into the canon of noise rock obscuriana, referencing Jerome’s Dream, a Connecticut Screamo band.

The Opaque Depravities of Young Adulthood  

Positive reviews kept coming. Paste magazine declared 3D Country its “Album of the Week.” Writer  Matt Mitchell wrote:

Surfing between remnants of Squid and the Rolling Stones, Geese never linger too long in any artifact they may decide to hold up to the light. It’s all vignettes of brief experimentation that coalesce into a greater vision: No influence is off-limits, nor is what Geese may begin to transform their palette into …

Mitchell was especially taken with the song “Undoer,” which he called a “seven-minute concerto.” Mitchell responded with an extended passage of inspired prose:

Winter cuts glass with a piercing octave that is as noble as it is spell-binding to witness unfold in real time … The track is emblematic of the album as a whole; jaggedly ditching every proclamation for the next brightest tone—especially when it codas into a guttural orchestra of digital, choppy, grunting arpeggios. From beginning to end, it dazzles, straightens your back, and edges every waking atom within you.[20]

Mitchell’s free-style rush of analysis continued as he made a key point:   

The band’s sophomore outing is not the cowboy dreamscape that numerous artists have been attempting to pastoralize in the last five years. The honky tonk flourishings and Western textures Geese employ here are simply vessels needed in order to unveil the juxtapositions of brutality and daintiness that plague their interests.

Mitchell concluded by capturing the contradiction at the heart of the album – and Geese:  

… 3D Country is not a coming-of-age document so much as it is a glaring, picturesque reading of the opaque depravities of young adulthood and the fleeting beauty that, briefly, intersects with it.[21]

Pitchforked Again

However, as glowing reviews came in from Paste, Rolling Stone, and newspaper music critics, one respected music source once again stayed off the Geese bandwagon. Pitchfork gave 3D Country a 6.8, only .2 points higher than Projector.

Reviewer Brady Gerber wrote:

From the opening “2122,” vocalist Cameron Winter immediately sounds liberated—and ridiculous … Instead of boxing in their more expressive singer, the rest of the band rises to his level … Geese are now a band of distinct voices racing against each other …[22]

Getting Killed

However, Pitchfork praised Winter’s solo album, Heavy Metal.

Unlike previous reviewers at the website, writer Walden Green praised Winter’s unconventional singing style and delirious lyrics full of mythological references. He gave Heavy Metal an 8.6, and Pitchfork placed the album on its “Best New Music List.” Perhaps the online magazine was beginning to reflect on the incoming accusations of elitism and unfair ratings—including those for Geese’s albums.

To add to the acclaim, the New York Times published a profile of Winter, depicting him as a rising rock star. Meanwhile, he and his bandmates worked on the next Geese album, Getting Killed.

Partisan Records released an advance single, “Taxes,” in the summer of 2025. Rolling Stone writer Jon Blistein, clearly in sync with Geese’s idiosyncratic worldview, especially liked the song’s video: 

Accompanying “Taxes” is a new music video, which begins with a camera pushing its way through a packed crowd at a Geese concert. Once it’s set, however, the song hits that midpoint launch, and the visuals take off with it, careening into a kaleidoscopic burst of moshing, shredding, and seemingly unfettered euphoria that quickly descends into strange violence and cannibalistic chaos.[23]

Wonderfully weird and colorful prose.

Between Halcyon and Haywire

But Blistein was just getting warmed up. A month later, the staff writer wrote a 4,200-word profile of Geese for Rolling Stone. To prepare, Blistein interviewed the band members along with the producer of Getting Killed, Kenneth Blume.

Blistein called Getting Killed “Geese’s most formidable album yet. DiGesu and Bassin cut deeper, craggier grooves. Green swings her guitar between halcyon and haywire, and Winter sings — he just flat-out sings, a nimble and mighty vocal contortionist with one of the most distinct voices in music.” [24]

Through his conversations with the band, Blistein added new details to the Geese narrative, including the origin of the album’s title:  

The earliest Geese practices and recording sessions took place in Bassin’s basement … it’s an output that suggests an impressive determination and drive for high school students.

Not that Geese remember it that way. They say they worked slowly, in a haze of weed smoke and Mario Party marathons. They blew some money on a projector and hooked it up to a Wii; if they hadn’t, Winter cracks, they “probably would’ve made three albums.” Still, he adds, the band “learned a lot,” and by the time they started making Projector, Geese were turning out nearly a song a week …

Really Horny for Mistakes

Blistein riffed on Winter’s voice:

Winter has one of those voices on which opinions hinge. It’s fantastically mutable, resonant and weathered, wizened and playful, capable of drifting through soft falsetto clouds or running ragged through the gravel.[25]

He homed in on a key aspect of Geese’s sound that hadn’t been discussed in the past, the role of imperfection in their music:

When Blume recalls his first meeting with Geese last fall — backstage at ACL Fest in a green room filled with bong smoke — the producer posits one comment that may have helped him convince the band to work with him: “I’ve been really horny for mistakes.”…

Mistakes do abound on Getting Killed, from cacophonous guitar skronks to stumble-drunk hi-hat taps that completely throw off a song’s rhythm. Geese wanted their songs to “feel unpredictable,” as Bassin says. But getting there involved painstaking perfectionism and frequent 16-hour days.[26]

An Unpredictable Melee Between Punk and Free Jazz

Reviews for Getting Killed continued in September and October of 2025, as the Trump Administration brutally rounded up and deported immigrants. The album title summed up a citizenry under siege by its own government.

Another vexing, but far less consequential, issue was the recent spate of AI-generated videos featuring non-existent bands. This prompted Atlantic writer Spencer Kornhaber to ask, “Is rock and roll so stagnant that a bland computer imitation could do a better job than real groups?”

Kornhaber answered his own question:  

The answer is no—young artists are still moving the genre forward in electrifying ways. Take Geese, a quartet of Brooklynites who were signed by a record label just after they graduated high school. Outlets such as The New York Times have since endorsed them, and one track from the solo album of the lead singer, Cameron Winter, became a TikTok hit, garnering more than 7 million Spotify plays. The band’s new release, Getting Killed, stages an intense and unpredictable melee between punk and free jazz. It’s the result of humans collaboratively making decisions that no one else would make, just because they feel like it … [27]

Faith in the Flailing

Oh, and how did Pitchfork rate the album? Contributing editor Sam Sodomsky – wait for this – gave Getting Killed nine-point-0 fucking points!

Finally, a Geese album landed in front of the right pair of ears at the venerable magazine. Coming in at a relatively trim 800 words, Sodomsky’s review bucked Pitchfork’s reputation for elongated dissertations. He wrote:    

Working with producer Kenneth Blume (the hip-hop luminary formerly known as Kenny Beats), the quartet explores a clattering, groove-based sound, denying the structures of traditional rock music while following the same volleys of tension and release … It’s a style that favors cyclical repetition over crafted hooks, ecstatic bursts of melody that inspire some of Winter’s most commanding writing. [28]

Sodomsky described Winter’s voice as “a slurred, straining warble whose cryptic delivery can feel like both sides of an argument you’re overhearing through apartment walls.”[29] He concluded by stating that the quality that defined the album was “the one they’ve honed from the beginning: a restless, untameable curiosity, less set on conclusive wisdom than a pervading faith in the flailing.”[30]

Falteringly Trying to Describe What it Sounds Like

But it was the New York Times‘ Lindsay Zoladz who wrote the most transparent review of Getting Killed. Zoladz was one of the few women critics to tackle a Geese review.

Zoladz framed her review as a letter to her readers in which she tackled the conundrum that had puzzled Geese commentators for years – how to describe their indescribable sound: 

Dear listeners,

I have spent the past week listening obsessively to “Getting Killed,” the great new album by the Brooklyn band Geese and falteringly trying to describe what it sounds like as I recommend it to everyone I encounter. Here was one unsuccessful attempt: “They don’t sound anything like Ween, but they sound like they probably like Ween?” Blank stare. I also described the band’s lead singer, Cameron Winter, as seeming like the victim of a wizard’s spell, one which made him sing for the rest of his life like Julian Casablancas — and he is miserable about it. I’m not sure that gets any closer to capturing the bizarro magic that oozes out of this record. Maybe I should just say “go listen to Geese” and leave it at that.

A highlight from “Getting Killed” kicks off this roundup of recently released tracks that I think are worth your time … Gather your flock and press play.

I may be stomped flat, but my loneliness is gone,

Lindsay[31]

Conclusion

Geese sparked a vibrant discourse in rock music, inspiring a narrative as complex and captivating as the band itself. By examining this discourse, we gain insights into the evolving landscape of rock criticism in the 21st century.

Perhaps the intensity of this discourse reflected a pent-up hunger among critics for a more robust presence of guitar-wielding young bands, for defenders of the rock tradition to arise from nowhere and fight the overwhelming commercialization of popular music. Geese filled this role. The band gave critics a new form of idiosyncratic rock music that stirred their collective imaginations.

More broadly, the press coverage of Geese demonstrates a special reciprocity between boldly innovative artists and free-thinking journalists. During this process, a musical artist produces an exciting new sound that inspires critics to new heights of creativity as they struggle to describe the indescribable.

This can be seen in texts like Jonah Krueger’s Consequence review of Getting Killed, in which he wrote: 

Getting Killed feels like Geese breaking their previous molds, gluing them back together with a certain level of reckless abandon, and seeing what new shapes of guitar music come out of it.[32]

… drummer Max Bassin’s multilayered percussion … sounds like an earthquake hit a middle school band room.

The edges are perfectly frayed, and there’s an anxious excitement that, at any moment, it might all fall apart. It’s a mode that feels aligned with early Velvet Underground or Iggy and The Stooges, where the pursuit of studio perfection is swapped out for character, intrigue, and damn fine songwriting.[33]

Geese have you covered with a trumpet in one hand and a pistol in the other.[34]

To learn more about the fascinating history of music journalism, check out my book, The Life and Writings of Ralph J. Gleason!

 Notes

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[1] Jonah Krueger. “Geese Come Alive with Getting Killed, the Most Creative Indie Rock Album of the Year: Review,” Consequence, Sept. 26, 2025. Webpage retrieved Oct. 23, 2025: https://consequence.net/2025/09/geese-getting-killed-album-review/.   

[2] “22 New Songs Out Today,” Brooklyn Vegan, June 22, 2021: Webpage retrieved Oct. 24, 2025: https://www.brooklynvegan.com/22-new-songs-out-today-41/.

[3] “22 New Songs Out Today,” Brooklyn Vegan, June 22, 2021: Webpage retrieved Oct. 24, 2025: https://www.brooklynvegan.com/22-new-songs-out-today-41/.

[4] Bobby Olivier. “Geese Reignites Brooklyn’s Indie-Rock Hype Machine,” Spin, Aug. 24, 2021. Webpage retrieved Oct. 23, 2025: https://www.spin.com/2021/08/geese-projector-interview-2021/.

[5] Bobby Olivier. “Geese Reignites Brooklyn’s Indie-Rock Hype Machine,” Spin, Aug. 24, 2021. Webpage retrieved Oct. 23, 2025: https://www.spin.com/2021/08/geese-projector-interview-2021/.

[6] Jim Farber. “New York Has a New Band of Buzzy Post-Punk Teens: Geese,” New York Times, Oct. 27, 2021. Webpage retrieved Oct. 23, 2025: https://www.nytimes.com/2021/10/27/arts/music/geese-projector.html.

[7] Jim Farber. “New York Has a New Band of Buzzy Post-Punk Teens: Geese,” New York Times, Oct. 27, 2021. Webpage retrieved Oct. 23, 2025: https://www.nytimes.com/2021/10/27/arts/music/geese-projector.html.

[8] Tim Sentz. “Album Review: Geese – Projector,” Beats Per Minute, Nov. 1, 2021. Webpage retrieved, Oct. 23, 2025: https://beatsperminute.com/album-review-geese-projector/.

[9] Jon Dolan. “Geese Are Legit Indie-Rock Prodigies, Straight Out of High School,” Rolling Stone, Oct. 28, 2021. Webpage retrieved, Oct. 23, 2025: https://www.rollingstone.com/music/music-album-reviews/geese-projector-1247383/.

[10] Jon Dolan. “Geese Are Legit Indie-Rock Prodigies, Straight Out of High School,” Rolling Stone, Oct. 28, 2021. Webpage retrieved, Oct. 23, 2025: https://www.rollingstone.com/music/music-album-reviews/geese-projector-1247383/.

[11] Jon Dolan. “Geese Are Legit Indie-Rock Prodigies, Straight Out of High School,” Rolling Stone, Oct. 28, 2021. Webpage retrieved, Oct. 23, 2025: https://www.rollingstone.com/music/music-album-reviews/geese-projector-1247383/.

[12] Jon Dolan. “Geese Are Legit Indie-Rock Prodigies, Straight Out of High School,” Rolling Stone, Oct. 28, 2021. Webpage retrieved, Oct. 23, 2025: https://www.rollingstone.com/music/music-album-reviews/geese-projector-1247383/.

[13] Ian Cohen. “Projector,” Pitchfork, Nov. 4, 2021. Webpage retrieved Oct. 23, 2025: https://pitchfork.com/reviews/albums/geese-projector/.

[14] Carys Anderson and Eddie Fu. “Geese Announce New Album 3D Country,” Consequence, March 21, 2023. Webpage retrieved Oct. 27, 2024: https://consequence.net/2023/03/geese-3d-country-stream/.

[15] Carys Anderson and Eddie Fu. “Geese Announce New Album 3D Country,” Consequence, March 21, 2023. Webpage retrieved Oct. 27, 2024: https://consequence.net/2023/03/geese-3d-country-stream/.

[16] Ian Blau. “Geese Get Bluesier, Proggier, Dancier, Slicker, Rougher, Weirder, Better on ‘3D Country,’” Rolling Stone, June 21, 2023. Webpage retrieved Oct. 23, 2025: https://www.rollingstone.com/music/music-album-reviews/geese-3d-country-1234775721/.  

[17] Ian Blau. “Geese Get Bluesier, Proggier, Dancier, Slicker, Rougher, Weirder, Better on ‘3D Country,’” Rolling Stone, June 21, 2023. Webpage retrieved Oct. 23, 2025: https://www.rollingstone.com/music/music-album-reviews/geese-3d-country-1234775721/.  

[18] Ian Blau. “Geese Get Bluesier, Proggier, Dancier, Slicker, Rougher, Weirder, Better on ‘3D Country,’” Rolling Stone, June 21, 2023. Webpage retrieved Oct. 23, 2025: https://www.rollingstone.com/music/music-album-reviews/geese-3d-country-1234775721/.  

[19] Ian Blau. “Geese Get Bluesier, Proggier, Dancier, Slicker, Rougher, Weirder, Better on ‘3D Country,’” Rolling Stone, June 21, 2023. Webpage retrieved Oct. 23, 2025: https://www.rollingstone.com/music/music-album-reviews/geese-3d-country-1234775721/.  

[20] Matt Mitchell. “Album of the Week | Geese: 3D Country,” Paste, June 22, 2023. Webpage retrieved Oct. 23, 2025: https://www.pastemagazine.com/music/geese/3d-country-review.

[21] Matt Mitchell. “Album of the Week | Geese: 3D Country,” Paste, June 22, 2023. Webpage retrieved Oct. 23, 2025: https://www.pastemagazine.com/music/geese/3d-country-review.

[22] Brady Gerber. “3D Country,” Pitchfork, June 23, 2023. Webpage retrieved Oct. 23, 2025: https://pitchfork.com/reviews/albums/geese-3d-country/.

[23] Jon Blistein. “Geese Are Ready to Break Their Own Hearts on New Song ‘Taxes,’” Rolling Stone, July 8, 2024. Webpage retrieved Oct. 23, 2025: https://www.rollingstone.com/music/music-news/geese-new-album-getting-killed-single-taxes-1235380443/.

[24] Jon Blistein. “How Geese Pushed Themselves to New Heights,” Rolling Stone, Aug 26, 2025. Webpage retrieved Oct. 23, 2025: https://www.rollingstone.com/music/music-features/geese-interview-nyc-rock-band-new-album-1235413964/.

[25] Jon Blistein. “How Geese Pushed Themselves to New Heights,” Rolling Stone, Aug 26, 2025. Webpage retrieved Oct. 23, 2025: https://www.rollingstone.com/music/music-features/geese-interview-nyc-rock-band-new-album-1235413964/.

[26] Jon Blistein. “How Geese Pushed Themselves to New Heights,” Rolling Stone, Aug 26, 2025. Webpage retrieved Oct. 23, 2025: https://www.rollingstone.com/music/music-features/geese-interview-nyc-rock-band-new-album-1235413964/.

[27] Spencer Kornhaber. “Finally, a New Idea in Rock and Roll,” Atlantic, Sept. 26, 2025. Webpage retrieved Oct. 24, 2025: https://www.theatlantic.com/culture/2025/09/geese-getting-killed-album-review/684380/.

[28] Sam Sodomsky. “Getting Killed,” Pitchfork, Sept. 26, 2025. Webpage retrieved Oct. 23, 2025: https://pitchfork.com/reviews/albums/geese-getting-killed/.

[29] Sam Sodomsky. “Getting Killed,” Pitchfork, Sept. 26, 2025. Webpage retrieved Oct. 23, 2025: https://pitchfork.com/reviews/albums/geese-getting-killed/.

[30] Sam Sodomsky. “Getting Killed,” Pitchfork, Sept. 26, 2025. Webpage retrieved Oct. 23, 2025: https://pitchfork.com/reviews/albums/geese-getting-killed/.

[31] Lindsay Zoladz. “7 New Songs You Should Hear Now,” New York Times, Oct. 14, 2025. Webpage retrieved Oct. 23, 2025: https://www.nytimes.com/2025/10/14/arts/music/amplifier-newsletter-geese-neko-case.html?searchResultPosition=3.

[32] Jonah Krueger. “Geese Come Alive with Getting Killed, the Most Creative Indie Rock Album of the Year: Review,” Consequence, Sept. 26, 2025. Webpage retrieved Oct. 23, 2025: https://consequence.net/2025/09/geese-getting-killed-album-review/.

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