#dominic digesu

[thebowerypresents]

Geese Prepare for Next Chapter at Sold-Out Music Hall of Williamsburg on Friday Night

Geese – Music Hall of Williamsburg – December 6, 2024

In a series of year-in-review features, several New York Times critics use variations on a term one of them called “algorithm breakers” — that is, output that eludes “easy categorization, keeping us off balance.” The term in that particular instance was for movies, but it could just as easily apply to other art forms. Maybe I liked it because it helps with a band not at all easily described: Brooklyn’s Geese. Not in the lazy “they’re genre-benders, wow!” kind of way, but because, like fellow shape-shifters (and recent tour mates) King Gizzard & the Lizard Wizard, theirs is a sound that thrives at the pressure points of where different rock styles clash into near chaos but hold steady to create invigorating music. They hit a little weird at first — and you’re reaching for why. But they’re under your skin already.

Geese’s first record, 2021’s Projector, had jittery post-punk for days, running the gamut from Television to Radiohead. The next record, 2023’s mesmerizing 3D Country, felt like a mutation, taking that sound every which way from chamber-folk to scuzzy-noise jamband, from pretty to zany to screamy. At times and in moments, they’re the kind of band you sort of can hear whatever sound you want in (I hear Beck at his most experimental). But in aggregate, they don’t feel derivative, and you’re more apt to marvel at how what they have hangs together at the brink of where it’s about to come apart at the seams and wobble off the front of the stage. 

Wouldn’t you know it: Geese also have a festival. Friday night was the second of three shows at Music Hall of Williamsburg, part of the band’s second-annual Geesefest, each with a different collection of cannily curated openers. (Friday had NYC’s Guerilla Toss, filling the room with big-rock-sound pow, and earlier, Philadelphia’s Cold Court, doing a ferocious jazz-punk thing.) Over a nearly two-hour set, Geese frontman Cameron Winter and his rambunctious cohorts served a little bit of everything, throwing back to Projector with “Rain Dance” and a punched-up “Fantasies/Survival,” peeling off more than half of 3D Country with standouts including a raging “Mysterious Love,” a woozy “Domoto” and, to close the show, the tender “Tomorrow’s Crusades,” Winter’s pained-happy falsetto carrying the “Where would I be without you” refrain. 

The story of the night, actually, was new songs: three billed as Geese tunes and one (the terrific “Drinking Age”) from Winter’s own just-released solo album. Each was a flavor of Geese, showcased in well-selected places in the overall set, without distinctly pointing to a direction the band might be headed with their next mutation. But most of all, the band seemed to love playing them, seemed to love their abandon, seemed to love their people, seemed to love this moment they’ve hit where they’re graduating to bigger things and have a lot of growth to celebrate. The crowd knew it, too: We all savored the rush of what already felt like an underplay-sized room for Geese. It’s the excitingly early, not just promisingly early stage: not quite Chapter 1 of their story anymore, and certainty that many more chapters are on the way. —Chad Berndtson | @Cberndtson

Photos courtesy of Toby Tenenbaum | @tobytenenbaum

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[piasgermany]

[Album + Video] Geese kündigen Debütalbum “Projector” an!

Mit der neuen Single "Low Era" kündigen die Newcomer von Geese das Debütalbum "Projector" an, das am 29. Oktober über Partisan/Play It Again Sam erscheint (physisch am 03. Dezember)!

Mit einer imponierenden Leichtigkeit bewegt sich ihr Sound zwischen New Yorker Ikonen wie Talking Heads, The Strokes und Television, wenn Geese aufbrausende Gitarrenriffs scheinbar spielerisch zusammen mit melancholisch tiefgreifenden Texten und dynamisch abwechslungsreichen Strukturen bringen. Es ist diese Mischung aus experimentellen Ideen, eingängigen Melodien und einer jugendlichen “Sturm und Drang”-Energie, welche das Debütalbum der noch jungen Band so besonders macht. 

Die Brooklyner Band, deren ältestes Mitglied gerade einmal 19 Jahre alt ist, entspringt dem Ehrgeiz, Musik mit allen Mitteln zu machen! Mit Turnschuhen als Mikrofonständer und Wolldecken, die über die Verstärker drapiert wurden, begannen die Jungspunde in den letzten Monaten gemeinsam an Aufnahmen zu feilen - immer nach der Schule bis kurz vor 22 Uhr, um den Lärmbeschwerden der Nachbarn zu entgehen. 

“We actually got a sign that says ‘If something’s not working, it’s either not plugged in, not turned on, or it’s the sample rate'", berichten Geese über das DIY-Arbeiten. "That sign hasn’t failed us yet.” Das Projekt der fünf Teenager-Freunde verbindet die rastlose Sorge um die Zukunft mit der aufgestauten Frustration über die Gegenwart - eine Perspektive, die in der heutigen unsicheren und schnelllebigen Welt nur allzu bekannt ist. Vielleicht macht es darum Sinn, dass die mysteriöse Figur auf dem Albumcover auch aus einem Traum geboren wurde: seltsam fremd und doch irgendwie vertraut.

"We had been trying to get everything to sound super heavy, creepy crawly, and complicated, really because that's all we knew how to do", berichtet die Band. "Four-on-the-floor songs like “Low Era” had felt a little like poison to us for a while, until we consciously tried to challenge ourselves to write something more danceable. We like the idea of confusing the listener a little, and trying to make every song a counteraction to the last, pinballing between catchy and complicated, fast and slow."

Geese sind: Cameron Winter (Gesang, Keyboard), Foster Hudson (Gitarre), Gus Green (Gitarre), Dominic DiGesu (Bass) und Max Bassin (Schlagzeug).

Tracklist “Projector”: 01. Rain Dance 02. Low Era 03. Fantasies / Survival 04. First World Warrior 05. Disco 06. Projector 07. Exploding House 08. Bottle 09. Opportunity is Knocking

Presse: meetz@pias.com Radio: mitja.bruch@pias.com (+ Online) I soeren.heuer@pias.com

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