George Ward
George Ward

Freelance journalist based in Bristol. Can be found at the Grain Barge, Rough Trade or in his tiny basement bedroom writing for CLUNK.

Rating: 4 out of 5.

Label: Partisan Records

On the cover of ‘3D Country’, the second album from New York band Geese, a cowboy lies on his back, hat flopped over his face and his legs up in the air. On the horizon we can see what has knocked him over: a huge nuclear explosion. This silliness is what makes ‘3D Country’ so special. And there are a good amount of cowboys too.

Opener ‘2122’ launches you in unapologetically. It is wild, hilarious and probably the best album opener of the year so far. We are immediately faced with Cameron Winter’s vocals, completely over the top, yelling “God of the sun, I’m taking you down from the inside”, before chaotic and bluesy guitar riffs blast onto the scene. 

The track constantly shifts all over the place, surprising you on every single instrumental stab. Midway through, after a particularly unhinged ramble, the song explodes into a wall of noise, battered drums and chaos before unfolding yet again into a new set of riffs. It is wildly unpredictable and insanely fun. 

The next two tracks, ‘3D Country’ and ‘Cowboy Nudes’ slow the pace, giving us gorgeous country-tinged indie rock. Yes, the lyrics are still very silly and the vocals always over the top, but these are also just excellently written songs. Guitar solos rip, choruses become catchier and catchier and the songs are so satisfying to listen to. 

Generally, this is the mood of most of the rest of the album. ‘Gravity Blues’ is a slower, more romantic cut, with group choral vocals and classic chord progressions. ‘I See Myself’ is a campy, playful and loveable track, with yet another ridiculously catchy chorus. 

The album isn’t overcomplicated, instead hitting us with quality track after quality track before occasionally hitting us with an experimental moment similar to ‘2122’. While these moments never hit quite as hard as the opener, moments such as ‘Mysterious Love’s’ deranged stabs of noise or ‘Undoer’s outro of screams scratch a similar itch. 

The best part about listening to ‘3D Country’ is experiencing a band having the time of their lives. The vocals are so ridiculous throughout but always delivered with such confidence and character that you get on board immediately. It is such a refreshing project from a band previously at risk of getting swamped by their guitar-music contemporaries. 

Listen to ‘3D Country’ here: