The first track, "Trinidad," features JPEGMAFIA, because what better way to kick off an album than by screaming about a bomb in your car while a producer known for chaos throws gasoline on the fire? It’s jarring, messy, and oddly perfect, kind of like Brooklyn brunch after bottomless mimosas.

Take "Cobra," for instance. It starts like a soulful rock throwback from the ’60s, then takes a detour, then slams on the gas again, like a preacher who’s also moonlighting as a rollercoaster operator. The title track "_Getting Killed_" goes full fuzz, big guitars, punchy rhythm, and lyrics that whisper existential dread while pretending to smile through it. Other songs, like "Islands of Men," slow things down only to sneak back in louder, reminding you that Geese doesn’t believe in comfort zones.

Cameron Winter’s vocals cut through the noise with what reviewers keep calling a "froggy voice," which, while accurate, feels rude to frogs. His delivery makes even the strangest lyrics sound like rallying cries, whether he’s leaning into dread, irony, or just poking fun at life’s daily absurdities.

From Projector to 3D Country and now this, Geese keep reinventing themselves like a band allergic to repetition. The new album may be their most accessible yet, though "accessible" in their case still involves screaming, sudden tempo changes, and the occasional existential crisis. For anyone tired of cookie-cutter indie rock, Getting Killed proves that chaos, done right, can be oddly comforting, kind of like watching the news, only with better guitars.