Album Review: 3D Country

I'm a big fan of the American highway system. Specifically, I'm a fan of the treacherous and vile stretches of Interstate 90 and Interstate 294 that lie a handful of miles south of Chicago; America's very own Khyber Pass. I love this road because it forces anyone who drives it to confront -- on a spiritual level -- the old British motto, "Who dares wins."

In June 2023, Brooklyn-based rock band Geese dared and won with their Sophomore album 3D Country.

The cover art was actually the band's sixth attempt at getting something wacky from an AI generator.

I've said before that Geese is a band I'm watching closely and for good reason. 3D Country is a rarity in music from the last few years in that it received widespread critical acclaim despite its very unique creative detours, as opposed to being ignored.

Now, I'm not one to take critics' reviews too seriously, as I believe they're all a gaggle of vultures who've scammed their way into making a living while providing nothing of value/substance to society, however I do think their judgments can serve as a sort of litmus test for the value of depth in some forms of art.

All that to say, 'they' were correct in their appraisals of 3D Country, if a little unenthusiastic. You may be reading this thinking "Why is Andersen, my most favorite charismatic and handsome young journalist, tweaking out about this album? Sure, it's got some good tracks but it's not a 10/10." --- to which I'd cordially thank you for the flattery and respond, "Indeed, not every song is perfect, but the album's success as essentially an experimental rock album is a very interesting indicator of a broader shift in the palate of today's audiences." Yeah, thats right, I know what I'm talking about. Spare me your judgement.

I'm not saying the whole world is gonna abandon Taylor Swift and Morgan Wallen for the likes of Deerhoof and The Smile, but I do think the percentage of experimental rock appreciators is growing. Let's rip open this album.

Once again, we're going track by track, listen along at your leisure. Remember these are only my interpretations of the songs, God forbid this article finds its way to Cameron Winter's eyes.

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2122: Starting strong with a very Zeppelin-y sound, Geese more or less lets you know exactly what you're getting into with this album. At first it's a in-your-face classic rock melody overlaid with Cameron Winter's trademark inventive lyrics. Midway through you get hit with an intense changeup, like the song itself dropped a quarter bottle of adrenochrome.

3D Country: The eponymous track, this song is the crowning achievement of the album. It's accessible, original, a masterpiece of production, and uniquely Geese. Winter's massive vocal range is on full display alongside honky-tonk piano and backup singers. The composition is just about as close to perfect as any song has ever gotten in past handful of years.

Cowboy Nudes: Released as a single 5 months before the album, this upbeat little song draws you in with an ear-catching yet reserved guitar lick. Again, the glory of this song comes in the form of composition, with off-the-wall layering that all comes together explosively at the midpoint. Also, it can't be understated that the drums in Cowboy Nudes are just insanely good; you really have to appreciate the opportunity to hear a bongo solo in this year of our Lord.

I See Myself: Slowing it down some, this groove-heavy track has some great funk undertones. The percussion in this track is pretty interesting and keeps the rhythm steady in a way that sorta reminds me of Steely Dan a little.

Undoer: A jazzy non-sequitur, the band really let loose with what was made available to them in the studio. Carried halfway through by a consistent bass and drum loop, the song crescendos all the way into a hilariously absurd ending. It's a long track but you gotta listen to it just for the end. Only Geese could press this record.

Crusades: A rock anthem with lyrics to leave you ponderin'. For as wacky as Geese can get, they always let you know they know exactly what they're doing, and Crusades shows you the art in the chaos. Winters' poetic bars are delivered with the weight of a fire-and-brimstone sermon.

Gravity Blues: Another one of the best tracks from the album, heavy blues piano and three layers of guitar act as the chariot for Winters' wailing vocals. Gravity Blues tells an achingly passionate tale of depression. Who woulda thought.

Mysterious Love: Coming back with a twinge of 90's rock elements, Mysterious Love is another tour de force of layering and experimentation. The ending sounds like the song is being smashed to pieces by an unrelenting sledgehammer.

Domoto: Opening with a marching piano and guitar riff, Winters takes an unexpected turn into soft, near feeble vocals that build in power alongside snare drums. Lyrics paint a compelling image, aided by sonically militaristic themes.

Tomorrow's Crusades: Another creatively chill rock track with a killer string section. The melody is once again impressive, which at this point should be pretty unsurprising. I'd say that's a serious achievement. Interesting avant-garde ending, a little reminiscent of really early John Cale work.

St. Elmo: The instrumentation in this track always makes me smile. I love the tinny unconventional sound and the sardonic lyrics, coupled with the level of care the song has been crafted with, are really something to be appreciated. A great way to cap off one hell of a trip like this album.

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3D Country, and Geese for that matter, isn't for everybody. But if it's for you, count yourself lucky to be able to appreciate such a gem of the 2020's. I have a feeling Geese is gonna cement itself as some significant character in the canon of music at some point in the near and foggy future, and I'm nothing if not a sucker for the line, "I knew them before they were cool." Sucks the air out of the room every time. Thanks for reading the slop, further bulletins as events warrant.

Andersen Beck Founder, Reporter