As we reel in wonderment from their stoic performance on our East Midlands shores last week, we take a look at their heroic efforts from their most recent – 3D Country – which was released earlier this year.
OVERVIEW
While their highly-reared debut of 2021’s Projector allowed them to see through the literate smog of indie prog-rock in the U.S and begin thundering through 40-odd states over there, 3D Country has allowed them to don their cowboy hats and ride like the wind, bullseye! with them less afraid to traverse over the water and sell out venues in Europe.
When Low Era came out in the fall of 2021, Geese did not know just what kind of rabbit hole they’d find themselves in. Eager fans scratched their heads wondering just where their influences came from, unaware that the band had actually circled the entire map. What came shortly was their debut – a debut full of straight-edged heat and off-kilter rock. Then came the flamboyant Disco. Clocking in at just shy of 7 minutes, Winter and co came to realise that jamming as a band was the best thing since sliced bread. That is, if they wanted to be even better.
Geese are more your standard post-punk fledging to come out of Brooklyn. Now the goofy oddballs out of Talking Heads‘ third limb comes 3D Country, a twist-and-shake take on post-punk with jitters of jovial indie and bouncy country bops. Now, don’t get me wrong. They’re still reared to make frenetic rock music. But this time around, they’ve taken a microscope to their space and timings; allowing the first half of the album to flourish so naturally amongst the cornfields of tomorrow. Of course, it all starts with vocalist Cameron Winter – a swelteringly honeyed voice that sounds like Elvis talking to himself in the desert dunes to a summoning bellow calling down from the Gods. The voice of both reason and chaos it seems –“What I saw could make a dead man cry, I’m goin home” – but equally distinct from any passer-by. Guitarists Gus Green and Foster Hudson also fire out rapid shots of twangy chords repent in Gravity Blues and colossal banjo riffs on jam workout 2122. Not to mention Bassist Dom DiGesu and drummer Max Bassin keeping them toes in line with a hot stash of wicked beats and tempting bass lines…
SONG-FOR-SONG
It begins with 2122 and ends with St Elmo. In between, is a juxtaposition between sweet, nurturing chaos on the impending doom and the apparent cradling of said ambient dread that shit… it really does exist. The opening 2122 is nothing shy of hitting things off with a flurry. It’s a bombastic flurry of war-cries, guttural banjos and hits even harder live – if you can believe it. 3D Country is a momentary lapse of tempo as it deepens with some piano tinkles and background choir vocals; a focal-point of this album from country, gospel and everything in-between. Cowboy Nudes is a floating melody that encompasses the very spirit of this bouncy record; bangos and all. I See Myself sees the swooning introduction of Green’s incessant noodling and Winter’s falsetto before we’re thrown into the covert model of a jam-friendly album. An operation that undoubtedly kicks up a gear with Undoer and Crusades – one with a suited secret agent bass motif and another, a stark use of strings. If the latter two are signs of signs of jamming, then Gravity Blues is the sign of truly getting in the spirit of their newly formed Western ways, as it’s a song soundtrack destined for a saloon brawl juxtaposed for the violence and beauty as it’s hilariously slowed in the edit. Mysterious Love is a pressured bottle top as Winter bellows, “This love is my only window (I will be the airbag) / 20 pounds of glass in my eye,” before it gives way in uplifting outro as the same words are uttered, “Some people are alone forever, some people are alone forever.” Domoto is perhaps a Geese first in one of the songs seen as pretty, a delightful waltz interrupted by Winter’s ballad ramblings – Making ocean hours move slow /Rivers are endless, I see them through.” Tomorrow’s Crusades / St. Elmo has the remarks of a post-credit epilogue, a lovely surmise of the now-complete main characters looking over at the Grand Canyon horizon.
The destined jam-loving makes you wonder if the tracks are better suited in a live setting than in a studio. And you’d be right on the money. Boisterous, energetic with a flurry of goofiness that we expected, they’re undoubtedly one of my favourite bands I’ve seen this year live. You can view my reel on all the action below.
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