“Get in asshole, let’s drive.” Cameron Winter issues the invitation/command about two minutes into Geese’s new album, after he and guest vocalist JPEGMAFIA have already shouted, repeatedly, “THERE’S A BOMB IN MY CAR!” It’s a refrain they’ll return to often on “Trinidad.” The music is as volatile as the subject matter demands, wah-wah guitar and minimal creeping bass giving way to explosive drum fills and bursts of jazz trumpet. By the end, Winter’s uncanny mewling on the verses has given way to something like a street-preacher rant; Geese meet the moment by evoking a funk band that’s gone all-in on noise rock, matching Winter’s screams blow for blow. As the tension ratchets tighter and the manic claustrophobia sets in, you get the sense that the fuse has been lit and it’s only a matter of time.

It’s all we have. The monoculture is gone. The American festival landscape is in steep decline. The pop charts are frozen in constant stasis, nothing moving anywhere until the next superstar album comes along and briefly mixes things up. Every piece of new music now exists in a state of competition with every piece of old music, and kids are more likely to stream music from past generations than anything made by their peers. The #1 song in America is by a fictional K-pop group from a Netflix cartoon. America continues to plunge toward a state of enshittified autocracy, and even the people in charge seem to be bored with the whole thing. Nobody likes Marvel movies anymore. The annual Coachella Valley Music And Arts Festival is the only thing this side of Italian brainrot memes that can plausibly claim to unite large numbers of young people. God help us.

New Geese, baby! In exactly one month, the berserk New York band will follow up their 2023 album 3D Country with a rabidly anticipated new one called Getting Killed. People are fired up for this one, with good reason. Frontman Cameron Winter’s solo album Heavy Metal was a cult sensation last year, and the advance singles “Taxes” and “Trinidad” have been absolute fucking wild and wooly bangers. The same is true of “100 Horses,” the new Geese track that hits the internet today.

Over the past week, you, the readers of Stereogum, have cast your votes to determine this year’s Song Of The Summer — and if I may say so, you have voted well. Today, we’re ready to reveal the results of the poll. Check out the top 10, and a graphic listing our past 15 years of winning tracks, below.

Every week the Stereogum staff chooses the five best new songs of the week. The eligibility period begins and ends Thursdays right before midnight. You can hear this week’s picks below and on Stereogum’s Favorite New Music Spotify playlist, which is updated weekly. (An expanded playlist of our new music picks is available to members on Spotify and Apple Music, updated throughout the week.)

Cameron Winter seems like a real fun guy. This afternoon the Geese frontman hopped on Instagram Live, streaming from Newport, RI ahead of the band’s show at Newport Folk Festival. “God this place is fucking cute!” he said, grinning to the camera. He also did an impulsive thing: He leaked “Trindad,” the next single and album opener off their forthcoming album Getting Killed. Oh man, it’s really good.

Every week the Stereogum staff chooses the five best new songs of the week. The eligibility period begins and ends Thursdays right before midnight. You can hear this week’s picks below and on Stereogum’s Favorite New Music Spotify playlist, which is updated weekly. (An expanded playlist of our new music picks is available to members on Spotify and Apple Music, updated throughout the week.)

Hopscotch Music Festival has announced its 2025 lineup, which has headliners My Morning Jacket, Earl Sweatshirt, and Sparks. Other notable performers include Godspeed You! Black Emperor, Geese, Unwound, Geordie Greep, and Superchunk. It’ll take place from September 4 through 6 in downtown Raleigh.

Last year, Geese frontman Cameron Winter released his breakthrough solo LP Heavy Metal. If you weren’t already a Geese head, that album probably made you one. And, just in time! The New York City group is returning with a new album Getting Killed, the follow-up to 2023’s 3D Country, which is out inSeptember via Partisan. They’ve also released a new single “Taxes” produced by Kenny Beats (!), and by god, it is so fucking good.

On Dec. 22, 2023, a strange coincidence occurred: Brooklyn indie rock band Geese parted ways with guitarist Foster Hudson, and Connecticut jam band Goose parted ways with drummer Ben Atkind. A similar crossover is happening now, as the two groups are both booked for this year’s Newport Folk Festival and on the same day.

Though the success he’s achieved so far as both a soloist and the frontman of Geese might suggest otherwise, Cameron Winter has not been able to legally drink for very long. He sings about being disillusioned with the future on his powerful song “Drinking Age,” which he performed on Jimmy Kimmel Live Wednesday night. It was his solo TV debut following Geese’s pre-taped performance on Colbert back in 2022.

Last year, Vampire Weekend returned with Only God Was Above Us, their first album in five years, and that was awesome. They also headed out on tour, and that was even better. You’ve probably already heard about the tour’s big gimmick. Rather than a conventional set of encores, the group returned to the stage and said that they would only play requests — not their own songs but songs from anyone other than Vampire Weekend. At every headlining show, they did their best to figure out those audience-requested covers on the fly, and it was just ridiculously impressive. (At the show that I saw, my favorite cover was “Can You Feel The Love Tonight?”) But the entire show was just incredible. The stagecraft, the song selection, and the impeccable touring band made for something beautiful. So I’m delighted to report that Vampire Weekend are taking that show on the road again.

Dog Days Fest! is an annual DIY-centric rock ‘n’ roll throwdown in Savannah, Georgia, and it’s about to return for its third installment. This time around, Dog Days adds an extra day, and it’ll come to venues around Savannah June 6 and June 13-15. Mannequin Pussy, Geese, Angel Du$t, and Boy Harsher will serve as headliners. I’ve only seen two of those four bands, but I can assure you that those two bands both absolutely rip live.

Over the weekend, Geese’s annual Geesefest went down at New York City’s Music Hall Of Williamsburg. The nights were full of jam sessions, covers, and even some new songs.

Last year, Geese released their latest album 3D Country, followed by an EP titled 4D Country. The Brooklyn band kicked off 2024 with a Justin Bieber cover, and now frontman Cameron Winter is sharing his debut solo songs, “Vines” and “Take It With You.”

I’ve only ever heard good things about Oregon’s Pickathon festival. The fest takes place on a woodsy farm, with smaller stages, and it’s built around cultier outlier acts who aren’t necessarily in the regular festival rotation. Pickathon is ostensibly a folk festival, but it has room for adventurous music from different corners of the map, and this year’s lineup is key evidence.

With each passing week, it feels like I see some new tweet or comment from someone expressing their adoration for Geese’s 3D Country, on which the NYC Band To Watch moved past the indie dance-rock of their debut and into some truly idiosyncratic ’70s-throwback art-stunt rock ‘n’ roll. Today the band has shared a cover of Justin Bieber’s early career hit “Baby” in that style. They even included the Ludacris verse as wistful spoken word, so good on them. Listen below, set to a slideshow of AI-generated Justin Bieber images.

Earlier this year, Geese released their album 3D Country. (This is the Brooklyn indie rock group Geese, not the very-popular jam band. That’s Goose.) Today, the band has announced plans to follow that album with a new EP called 4D Country, which will include a few songs from the same sessions. They’ve also shared one of those songs.

Later this week, the much-touted young Brooklyn band Geese will release their new album 3D Country. Thus far, they’ve released a generous number of the album’s songs as advance singles: the title track, “Cowboy Nudes,” “Mysterious Love.” Today, just before the LP finally hits, we get one more new track.

Geese, the young Brooklyn indie Band To Watch, have evolved into rock ‘n’ roll weirdos of a sort on new album 3D Country. On “Cowboy Nudes” and the title track, they’ve honed in on an art-damaged spin on classic rock, one built on Zeppelin-style riffs and soulful Stones-y grooves but also full of discordant post-punk left turns, topped off by extremely hammy and eccentric vocals from Cameron Winter that will polarize the fuck out of you. (Imagine Eddie Vedder gone Captain Beefheart. Imagine Joe Casey from Protomartyr ironically crooning like Alex Cameron. Imagine Tom Jones flanked by scarequotes thrown so violently they could knock you out.)

Back in January, the Brooklyn rock band Geese announced their graduation from teenage prodigy status with “Cowboy Nudes,” an early taste of their second album. Today they’re officially announcing the project, which is called 3D Country, and sharing its seven-minute title track. The song is a glammy, danceable, gospel-tinged country-rocker with vocals from Cameron Winter that remind me of a campy Tom Jones impression or something. Eventually it descends into noisy chaos before leveling back out into guitar-solo euphoria. There’s a more than a little Stones in this sound; I’m also getting shades of… I dunno, Foxygen and Alex Cameron?

The young Brooklyn indie rock Band To Watch Geese — not to be confused with the ascendant jam-band royalty Goose — have returned with their first new song since 2021 debut Projector. “Cowboy Nudes” sees the group embracing a soulful, groovy, Stones-y vibe, among other louche retro reference points. Cameron Winter’s vocals are punctuated by gospel-choir exclamations sometimes and “New York City!” gang chants other times, and he breaks into howling wordless nonsense with enough of a wink that it reminds me of Stephen Malkmus at least as much as Foxygen.

The young New York Band To Watch Geese released their debut album, Projector, last year. The last we heard from them was a few months back when they covered Talking Heads’ “This Must Be The Place” for SiriusXMU. Today, they’re back with another cover, this time of Nick Drake’s “Place To Be.” It’s for the latest installment of Sounds Of Saving’s collaboration with the National Suicide Prevention Lifeline, “Songs That Found Me At The Right Time,” which so far has highlighted covers by Sharon Van Etten, Thao, and more.

Geese have garnered a whole lot of buzz over the past year on the strength of their impressive debut album Projector. The young New York Band To Watch made their television debut on The Late Show With Stephen Colbert last month. And today, they stopped by the SiriusXMU studio for a live session, performing a pretty straight cover of Talking Heads’ iconic 1983 track “This Must Be the Place (Naive Melody).” Check it out below.

Geese are definitely not in their low era. We named the buzzy young New York post-punk band a Band To Watch and one of the best new bands of 2021 last year, and last night, those crazy kids made it all the way to The Late Show With Stephen Colbert. They played “Low Era,” the breakout song that basically landed them a manager and a record deal, with panache, and you can watch their performance below.

It’s been a common refrain for a while now but, man, what a weird year. A mixture of hopeful breakthroughs and disappointing setbacks, 2021 wasn’t quite the triumphant post-pandemic year many of us had hoped for, but instead a strange mix of pseudo-normal-life and still-lingering anxiety. Within all that, dumb news stories seemed to register as even more alien, and the pop culture landscape could feel sort of fragmented and siloed, until certain left field events became more universal.

As you might’ve already gathered from our best albums of 2021 list, we found this to be a strange year. With blockbuster releases being scarce and often disappointing, 2021 felt particularly well-suited for digging into personal favorites and transfixing albums that may have gotten less attention in another year. Every time we look back at the songs of the year, it works that way — rather than voting and creating a list approaching some kind of consensus, we just pick the songs each of us were completely obsessed with. The only rules are that no song can appear twice amongst any of us, and that every pick has to have come out in 2021, or be a 2020 song that really left its mark this year. Check them out below.

It’s been a common refrain for a while now but, man, what a weird year. A mixture of hopeful breakthroughs and disappointing setbacks, 2021 wasn’t quite the triumphant post-pandemic year many of us had hoped for, but instead a strange mix of pseudo-normal-life and still-lingering anxiety. Within all that, dumb news stories seemed to register as even more alien, and the pop culture landscape could feel sort of fragmented and siloed, until certain left field events became more universal.

It’s been a common refrain for a while now but, man, what a weird year. A mixture of hopeful breakthroughs and disappointing setbacks, 2021 wasn’t quite the triumphant post-pandemic year many of us had hoped for, but instead a strange mix of pseudo-normal-life and still-lingering anxiety. Within all that, dumb news stories seemed to register as even more alien, and the pop culture landscape could feel sort of fragmented and siloed, until certain left field events became more universal.

It’s been a common refrain for a while now but, man, what a weird year. A mixture of hopeful breakthroughs and disappointing setbacks, 2021 wasn’t quite the triumphant post-pandemic year many of us had hoped for, but instead a strange mix of pseudo-normal-life and still-lingering anxiety. Within all that, dumb news stories seemed to register as even more alien, and the pop culture landscape could feel sort of fragmented and siloed, until certain left field events became more universal.

It’s been a common refrain for a while now but, man, what a weird year. A mixture of hopeful breakthroughs and disappointing setbacks, 2021 wasn’t quite the triumphant post-pandemic year many of us had hoped for, but instead a strange mix of pseudo-normal-life and still-lingering anxiety. Within all that, dumb news stories seemed to register as even more alien, and the pop culture landscape could feel sort of fragmented and siloed, until certain left field events became more universal.

It’s been a common refrain for a while now but, man, what a weird year. A mixture of hopeful breakthroughs and disappointing setbacks, 2021 wasn’t quite the triumphant post-pandemic year many of us had hoped for, but instead a strange mix of pseudo-normal-life and still-lingering anxiety. Within all that, dumb news stories seemed to register as even more alien, and the pop culture landscape could feel sort of fragmented and siloed, until certain left field events became more universal.

Only in the past few months has seeing shows become a viable option once again. Thus, just like last year, it’s been difficult to figure out which new artists hold up on the road, or which ones have such a spectacular live show that it forces you to reconsider their recorded output. But we here at Stereogum are still as determined as ever to compile our annual Best New Bands list, in order to provide a look at the musicians that make us most excited about the future and organize them all in one place.

Last year, SXSW 2021 went virtual. The year before that, the Austin-based fest was cancelled outright due to COVID-19. For 2022’s event, SXSW will be back and in-person from March 14 through 20.

Last month, the buzzy young Brooklyn group and Band To Watch Geese officially announced their debut album Projector. At the time, they shared “Low Era,” and we’d already heard “Disco” back in June. (We ranked the latter amongst the best songs of that week.) Today, they’re back with another preview of the album.

A couple months ago, a young Brooklyn band called Geese emerged with a single called “Disco.” To many, they were still unknown, but there had already been a lot of word-of-mouth buzz about the group — hype that “Disco,” one of the best singles that week but also of 2021 overall, delivered on. We named the group a Band To Watch, and they previewed what to expect from their full-length debut. Today, they’re back with the official news: The album is called Projector, and it arrives at the end of October.

“It’s been so long since there’s been a New York band with this kind of buzz around them.”