Geese continue to impress with the title track to their debut album ‘Projector’

THIS REVIEW WAS ORIGINALLY PUBLISHED AT WWW.MUSICISTOBLAME.CO.UK

Gearing up for their debut album ‘Projector’ -releasing on October 29th – Brooklyn based band Geese dropped the title track as the album’s latest single last week. Despite this being just the 3rd song released by the five-piece group, they’ve already amassed a strong enough following to tour Europe & North America, beginning with a show in London on November 17th.

Previous singles ‘Disco’ and ‘Low Era’ juxtaposed dejected lyrics against brighter instrumentation. ‘Projector’ on the other hand leans fully into the downtrodden aesthetic, and it works well with the band’s DIY sound. The mix here is a bit murky, but it’s clearly done with purpose.

The song follows a reclusive narrator, describing himself as “the king of sensation / following cicadas / underground for another few years”. He eventually ventures out into the world, remarking about how disconnected he feels from everything around him. At first it seems like the recluse is just lonely, but his thoughts quickly turn accusatory and combative. The final lines before the finale: “Decency of mankind / has been all but slaughtered by the computer and the wire / Now I’m the only good man left on earth / So why don’t you want me?” seem to paint the narrator as an incel. He grumbles about how disgusted he is with people having sex, and insists he sees the world for what it really is.

It’s not the first time Geese have explored more complex or uncomfortable social concepts, having touched on the existential dread brought on by climate change on ‘Low Era’. Just like on that song, the narrator closes ‘Projector’ by “rising up to heaven”. The band’s overall sound isn’t overwhelmingly gloomy by any stretch, but they’re not here to put a smile on your face. Every single so far has had allusions to death and feeling helpless, so it’s probably safe to say the full LP won’t be a cheery one.

The greatest strength of ‘Projector’ though is the versatility Geese are able to display musically. The guitars methodically play arpeggios through the first half of the song before descending into a chaotic instrumental break. The arpeggios eventually double up, layered over each other but just a hair out of time, adding to the overall eerie vibe. Drummer Max Bassin is pretty restrained through the verses & choruses, but shows off some real skill as part of a climatic instrumental swell. All while lead singer Cameron Winter delivers a charismatic vocal performance reminiscent of Julian Casablancas.

The band doesn’t have one stand-out talent. They’ve collectively gelled to create a distinct sound, and know how to take their time to build a song up to a satisfying climax. Their songwriting is wordy but intelligent, and they don’t let it bog down their melodies. If the title track is anything to go on, Geese are set to release one of the better debut post-punk albums in recent memory.

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