(Jashodhara Jindal / Heights Editor)
Rock and roll has been the genre on the cutting edge of music for over half a century—musicians define and redefine what it means to be a rock band. Yet in the last decade, a sullen theme has emerged: innovation in rock and roll has come to a standstill, and many of the touring bands are incredibly dated.
Built to Spill, The Jesus and Mary Chain, and Dinosaur Jr. are all giants of the ’80s and ’90s rock world that I saw play recently. This trend isn’t stopping any time soon—just look at the concerts booked at many local venues: David Byrne, Modest Mouse, and even Black Flag are all playing shows in Boston within the next few months.
This critique isn’t meant to discredit these groups. All of these bands are genuinely great enough that we will go see them play their hit songs 30 years after their debut. The problem lies in the fact that men old enough to collect their pension, going on a reunion tour, are seemingly upholding the entirety of the live music scene.
The ethos of rock and roll has always been defined by the youth, by gritty basement shows with messy three-chord riffs, and a defiance of everything except the future. This defiance and innovation seem to have been lost in rock and roll, or at least have been missing in the last two generations of musicians.
Perhaps the industry pushed rockers out in favor of hip-hop and pop, but there is clearly still a market for rock. If there wasn’t, every half good band of the ’80s and ’90s wouldn’t have dusted off their guitar to go on tour.
The kids are ready for something new. People are waiting for a rock band to pick up the torch from the greats and let the scene finally move on from the tired tracks of the past. Geese, a four-member band of young New Yorkers, might just be this generation’s trailblazers.
There’s a chance you heard of Geese’s frontman Cameron Winter earlier this year. Last December, he released his debut solo record Heavy Metal, which brought him popularity and introduced his sound to the music scene. It sounded like Jim Morrison singing a Nick Drake cover album—his haunting vocals over simplistic rhythms made for an incredible compilation.
Winter has since skyrocketed into the public eye, and when Geese announced its sophomore album, Getting Killed, it was met with massive anticipation. Getting Killed has been out for two weeks now, and to say the reception is positive is an understatement. Rave reviews from almost every major publication have posited Winter and his bandmates as living legends.
The Atlantic commended them with the headline “Finally, a New Idea in Rock and Roll.” GQ published a lengthy interview praising the band, and even The Wall Street Journal published an optimistic review. This media daydream culminated in Geese’s performance on Jimmy Kimmel Live this past week, a stepping-stone for many bands hitting it big-time.
Geese are proving to be the first rock band in decades to enter the mainstream and receive such quick, positive feedback. New York City hasn’t produced a similar act since the early aughts, and it’s no coincidence that Geese is the band to break this streak. The four members all grew up together and attended Park Slope School of Rock, a music-centric high school. Their well-trained musical background is evident in their songs.
A lot can be said about Geese’s sound. I’d advance that it’s in limbo somewhere between gospel music and punk rock. Winter’s haunting vocals are striking at first, and he has an extensive range, from high-pitched falsettos to deep drawls.
His voice contains a depth of emotion not present in any other current band—pain is potent in Winter’s voice. You might expect to find his vocals over quiet piano, but Geese pairs Winter’s evocative singing style with fast guitar and masterful drumming.
It’s hard to pin a genre on Geese aside from the umbrella term rock. The styles that people have attributed to them are as follows: post-punk, indie rock, modern western, and free jazz. But these genres are all traditionally at odds with each other. With this genre-blending methodology and the impressive lyricism on Getting Killed, it’s no wonder people are falling in love with Geese.
Their sophomore album addresses relatable, modern social anxieties. Winter seems to have internalized the contemporary alternative zeitgeist and, from there, produced an album that satirizes the struggle of a modern-day rocker.
Joan of Arc, a hero and modern-day symbol of feminism, is morphed into a character Winter interacts with on the album. In Getting Killed, the lines between reality, pop culture, and history are unclear. What is clear, however, is the impressive, sweeping instrumentals and bone-chilling vocals.
Geese’s recent record has proved to be the album rock and roll has been missing. This band has brought to the table something completely new—from the music to the vocals, Geese is innovative all the way through.
On my first listen, I didn’t really know what to think about Getting Killed, and on my second listen, I still didn’t know what to think. Weeks (and dozens of listens) later, I’m still not quite sure if I have it figured out. What I do know is that this album is the type of experimental mastery that can reignite a passion for rock music, and that Geese are the first band in decades that can carry forward the torch of rock and roll.