2023-11-08 18:56:14
Have so far Geese particularly convinced by the fact that she is one of the most potent inheritance administrators for Ought positioned in the post point. But it’s not enough to underline this on their officially second (but actually third!) album: after all, more is more in this exciting one 3D Country!
The Brooklynites have always shown slightly crazy tendencies, but now they’re shooting the bird: what a high-spirited genre rollercoaster ride with an almost unbridled flood of associations Geese on 3D Country (a title that ultimately makes perfect sense as a stylistic positioning of the record!), but then defies any description.
To try it anyway with a look at individual passages at the beginning and end of the record, which allow conclusions to be drawn about the big picture: 2122 intones with the over-the-top theatricality of The Eighties Matchbox B-Line Desaster, if these had been a roadhouse band, looking for a funky riot in the cowbell madness. The title song croons in the Ought– Lounge to Strokes-Guitars with soulful backing ladies and then croaks along to the classic rock jam. Cowboy Nudes bows to the Stonesalso along the tropical percussion jitteriness of LCD Soundsystem. Tomorrow’s Crusades almost sounds later – and yet not at all! – as if Bowie were riding out on a dizzy pony into the prairie of the peacefully excited Technicolor Western before St. Elmo goes around in circles as a jangly honky tonk delirium with carnival attitude and a scratchy solo approach.
Sounds tiring?
Especially because between inside Prince-suitable hit hooks with self-sacrificing devotion (I See Myself) just as naturally (a la Undoerthe heart) alongside lurking groove rhythms with a penchant for psychedelic, excess and prog rock, like a portion of madness handled with exuberant lightness (Mysterious Love), which staggers in a crooked, jangly 80s sitcom with a choir rehearsing the grand gesture (Gravity Blues) or no distinction is made between pompous strides and careful contemplation with a euphoric panorama (Domoto), while even the compact 6 with its solemn strings avoids the monotony?
In a way it is. And still absolutely coherent.
Because the biggest trump card of 3D Country is that all these unpredictable twists and symbioses hardly have anything forced about them, but rather seem natural and yes, even inevitably sensible. Even if the songwriting sometimes doesn’t get to the point, nor does it create a truly cathartic, emotionally moving climax in the compositions that are so dynamic and exciting. But the melting pot of ideas and influences follows its own logic as if from an abstruse mold, without having to bend it, and above all it also develops its own characteristic identity instead of interchangeable arbitrariness – which is a large part of the frontman’s enthusiastic, fervent performance Cameron Winter who shows an exalted, versatile range that is second to none.
Geese With him as a guide, they sometimes miss the target, but never go beyond it. But even more than that, they demonstrate how damn good it feels to hear a young indie band taking risks again. Which then deserves a rounding up between the points.
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