1965 documentary Women and Gentlemen… Leonard Cohenfollowing the singer-songwriter around the age of 30, a television interviewer asks what it means when Cohen says he’s trying to wake up in a state of bounty. He described it as “such a balance that rides the mess you found around you,” and “it’s not about solving the mess. I kept thinking about his use of words. Belligerent Spinning a new revelation of Geese album, Being killedDon’t waste time referring to the genocide around, spending most of it in a slippery free fall with enthusiasm that bridges the gap between the strange chaos of 2023 3D Country Cameron Winter’s solo album heavy metal. It’s a bomb, a car, a car, a road to wherever you go. Until I saw that Leonard Cohen clipI had a hard time figuring out why that lawlessness felt so elegant. There’s something like God about it.
1. Trinidad
Geese may be positioned as young celebrities saving rock and roll for a new generation, but they make one thing clear: their music is little effortfew. Not just because they proved more than an astounding post-punk group projector It made some impressions, but because it’s so fast to waste simple tricks in the genre. Instead of any kind of swagger riff, “Trinidad” may bail for chaos, as actual geese do. Before screaming repeatedly jpegmafia-Assisted refrains, Cameron Winter begins by singing the words “I tried,” with a ghost double echoes exhausted. The threat is an adrenaline shock, sharpening his pen and his emphatic intonation. The Apocalypse is on track. “For four and a half days, when the light turns red, I’m not told I’m driving.” Here I swirled my winter leads in double circles and panned to reflect the voice of his head.
2. Cobra
If you hear “taxes” before the release of the album, the most quotable line comes to mind: “In the age of war, there is only dance music” comes to mind when “Cobra” comes. These are the times of war, when Winter sings, “Baby, let me dance forever,” across the woozy jungle. But far from rebelling against joy, he is captivated without the similarity of control, and is stuck in eternal submission before despairing rebelliously saying, “You can make the Cobra dance, not me.” The double meaning of the opening line dawns to you: “Drive Dance” Get away Forever. “We’ll dispel the curse.
3. husband
The album’s first substantial groove, but compare it to the idol’s “gift hose.” tank: This is not about how fast and muscular his horse is, but rather “see him.” It’s not about moving people either. Instead, the punishing bass and cluttered percussion remind us of how difficult it is to trace weight to a singer’s body. Perhaps not, he admits – maybe it can’t numb the feeling that doesn’t exist. “And if my loneliness should stay, there are also those who are so holy as such.” You have probably heard that rationalization from a hardworking man who is unhappy in your life. Of course, as long as it’s not buried in your head.
4. Being killed
Samples of Ukrainian choirs stand for everyone in the world. As Winter is a dissonant that can’t listen to him, he must win one of his most passionate performances and traverse the opera and just the inevitable performance. But what underlies this is the openly stated emotional bankruptcy that “can’t even taste their own tears/they can’t fall into the eyes of even sadder assholes.” Loneliness allows him to illuminate his credibility with the album title “I’m murdered in a pretty good life” and indulge in the tendency of a fugitive to lend. It was cut in the middle of the track in the blink of an eye.
5. Male Island
Guitarist Emily Green and bassist Dominique Diguez stab the instrument as if they were trying to force the truth into our throats. As if literally responding to a winter call, the band literally stops, stops halfway through, picking up a slow burn and occasionally sets sacred harmony, taking the backseat for the poetic winter improvisation. Instead of the winter voice, it is because of the high piano notes and brass touches that once served as a precursor to ecstasy. Even he can’t overtake them.
6. 100 heads
Unlike a “gift horse,” the stomping of “100 horses” is not sophisticated. Yet, the song is nothing more than two things that, despite hilariously clarifying that Winter is “probably 124”, ignites irony and dance, and has absolute freedom to practice in the age of war. “He said he would never smile again, but he wouldn’t be worried,” he sings, referring to one Smith, you can see a nervous smith on his face. “Everyone has to stop smiling once they get what they’ve begged for.” Some people want albums like that. Being killedit captures the current sense of the circus burning without resonating, because there is no better word, Frizzy – Geese deliver because they get caught up in the world around them and are absolutely good at sounding serious. “We’ve been dancing so long and now we have to change it completely” isn’t the best marketing pitch, but it’s a closer hell. Grooveless Geese could still kill it.
7. Half real
This change comes in the form of the album’s first (some sort of) ballad. Ballard shakes with the power of winter’s idiosyncratic, humorous spirituality, “I might say that our love was only half-real, but that was only half-true.” He tries to find some bounty in the blissful arrangement, but the lobotomy sounds worth it for the price. You cannot doubt the heart of this record when another voice joins him and pleads to “get rid of the good times.” You can’t take that out of your heart either.
8. au pays cocaine
This song says it’s closest to the tattered babysitter bies heavy metalhowever, there was nothing very emotional or musically direct on the album, just to emphasize its own forgetfulness. When Winter’s voice shrinks and he declares he’s OK (less persuasive than the previous “it’s okay”), you can’t help but feel defeated. The lines of the guitar sound like the sunlight glowing in the waves. The rhythm is like the wind. Fake, obviously – he stands in a sinking boat – and the reality of his despair can equally not attack. He must believe because he realizes he can’t escape from either of them.
9. I’ll bow
The narrator must transform again. “I was a sailor. I was a boat now/I was a car, but now the road.” (In the title track, he was “TV on the road.”) This is a depiction of ragtime hell in the band, with even the close circles of singers baffled by self-talk, and each musician reaches the point of a maniac who goes out to his own pointless tangent.
10. tax
When “taxes” fell in July, it felt like the first taste of being killed a unique crazy. As the penultimate track on the album, it almost sounds like comedic. Compare how Winter sings “Now I’m in Hell” in the previous song. At this point, we don’t know what the difference between rebellion and despair is, even when he intended, “Doctor, Doctor! Heal yourself!” What is clear is that all sorts of faith that transcends itself are being crushed. He is not clinging to love. “I’m going to break my heart from now on,” he puts on a belt and barely stitches himself together.
11. I’m coming here Long Island City
Percussive training and spiritual catharsis of equal parts, “Long Island City Come Here” reveals the album’s origins as a series of jams. You can easily imagine a goose stretching this to 10 or 20 minutes (as if more convergence of the world is needed) The biggest jam band). But it is also the sound of a band (or the frontman who urges his band) panmering towards uncertainty through a complete annihilation. In Spectrum Vision, it is said that “masterpieces belong to the dead” in winter. In other words, it belongs to people who are scared and nervous. Being killed.
Source: Our Culture – ourculturemag.com
