New year, new rock band on repeat. That’s how it is here at the Audiojunkie HQ. Where I’m situated on the East Coast, there’s an abundance of snow and cold temperatures. I don’t know if I’ll get used to it, but I’m coping (heat tech underwear FTW). There's also college FM radio, which I’m thankful to catch. And this FM’s program is my gateway to new music on the indie and modern rock spectrum. There’s so much interesting stuff that I hope to feature in this column as I go. But for now, here's one of them.

First is this American band, so infectious, they have to be the first new group I have to write about. And I am talking about the band called Geese. A quick backgrounder: hailing from Brooklyn, New York, Geese first hit the scene in 2016. The lineup includes Cameron Winter (vocals, keys, and guitar), guitarist Emily Green, bassist Dominic DiGesu, and drummer Max Bassin, expanded with touring keyboardist Sam Revaz.

The band first met in high school and has been playing together since. Writing their own material in the drummers’ basement, they eventually released a debut EP in 2018. This was followed by a proper album, “A Beautiful Memory,” and a second EP, “Bottomless Pink Lagoon,” in 2019. From this information alone, we can gather that this band is focused. To that I say: “daig nang masipag ang puro porma lang.” And I wish I could’ve said the same when I was their age, but I digress. Sadly, these albums have been removed from streaming platforms for reasons I don’t know. But don’t fret, as there’s still enough Geese music that’s readily found on streaming platforms.

And these are the albums “Projector” (2021), “3D Country” (2023), and the more recent set “Getting Killed” (2025). Currently, I’m bouncing back and forth between these recordings and just cherry-picking tracks to throw on a personal playlist. Angular riffs abound on tracks like “Rain Dance,” “Low Era,” and “Fantasies/Survival” (from “Projector”), but the sound is not necessarily heavy per se, at least not in the traditional wall-of-distorted-guitar sonics associated with rock. Geese are actually savvier. More art rock and experimental coming from the indie side of rock. Still, “Gravity Blues” from “3D Country” feels like it's coming from Elton John, Queen, mixed with The Strokes.

Immediately noticeable out of listening to Geese is Cameron Winter’s voice. His vocal affectations have been described as thus: ‘sounding like five singers in one song’ whose vocals go from a ‘woozy baritone’ to a ‘Thom Yorke-ian falsetto’ with intermittent ‘stabs of deranged noises’ thrown in between. “Trinidad,” the opener to the latest album “Getting Killed,” puts these descriptions on display. Over a slow building groove, a cacophony of sounds explode (courtesy of DiGesu, Green, Bassin) tempered only by a trombone (by guest Chinese-Japanese musician Nick Lee) and Revaz’s free form jazz-like stabs while Winter starts in a falsetto, which eventually gives way a to a blood-curdling scream in a repeating chorus of “There’s a bomb in my car!” Check out Geese’s recent performance of this track on SNL just this past weekend.

Style-wise, Green and Winter still employ blues-rockisms as guitarists, but their melodic and chordal forays are far more interesting. Coupled with Bassin and DiGesu’s robust rhythm section, Geese can go from tender to rockin’ at the flick of a switch (check title track “Getting Killed”). Currently on heavy rotation are the deceptively tender “Au Pays du Cocaine,” “Islands of Men,” the shoegazy “Taxes,” and jam-like “Long Island City Here I Come.”