Geese—a band of four 23-year-old longtime pals from Brooklyn and Manhattan—represent such an exciting jolt of rock ’n’ roll possibility that they successfully convinced marquee producer Kenny Beats to change his name in order to work with them. When the members of Geese were still in elementary school, Beats was showing up on increasingly big hip-hop records by Smoke DZA, ScHoolboy Q, Freddie Gibbs, and Vince Staples. But as he doggedly pursued Geese through 2024 and convinced them to give his new Los Angeles digs a try, they offered a caveat: He should drop the Beats once and for all and just be Kenny Blume. The swap proved worth it. Together, Geese and Blume made one of this year’s truly great rock records, finding an often-hidden seam between old-school indie-rock idiosyncrasy and the mainstream’s explosive power. Getting Killed feels like a burst of new life. Geese signed a pandemic-era deal for their high-school debut, Projector, before raising the stakes with their indulgent, discursive, and beguiling 3D Country. But their flock unexpectedly grew early in 2025, when Heavy Metal—the brilliant solo debut of singer and leader Cameron Winter, actually released late in 2024—became an unexpected and uncanny breakthrough. Fans of that album may recognize its tunefulness at the start of Geese’s “Cobra,” where lilting keyboards indeed conjure “Love Takes Miles.” Aside from Winter’s singular voice and barbarically blunt lyrics, though, the similarities stop there: Getting Killedis a savage and beautiful thing, anchored by the athletic rhythm section of bassist Dom DiGesu and drummer Max Bassin and given a serrated edge by guitarist Emily Green. Where “Islands of Men” moves from a warped Rolling Stones strut into art-rock transcendence, “Bow Down” is nervous and mean start to finish, Winter howling about lost love over an instrumental that feels like heart palpitations. Hinging around howled lines about bombs in cars, opener “Trinidad” indeed lands like a piece of twisted scrap metal. Geese, though, can be tender and exquisite. “Half Real” is an anthem for holding love close as the world tries to chip away at it, while the climactic soul stunner “Au Pays du Cocaine” is a let’s-stay-together update for our era of shared discontent. Geese have recently flamed the eternal embers of rock-savior dialogues, their imaginative but relentless approach suggesting for many talk about the next Strokes or Radiohead. And, sure, that might happen. But more importantly, Geese have simply done what so many great rock bands in the past have done—they’ve learned the lessons of their forebears, ripped them apart, and reordered them in a way that sounds as thrilling to them as to us. “I’m getting killed by a pretty good life,” Winter warbles on the title track, echoing Neil Young a half-century on. Whether you’re in heaven or hell, it’s hard not to nod at least a little bit of assent to one of rock’s most electrifying new crews and gripping new voices.

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