With Getting Killed, Geese leave their youthful chaos behind — but not entirely. The Brooklyn band’s third album doesn’t clean up their act so much as reshape the mess, leaning into sharper contrasts and unexpected softness while still carrying the edge that’s defined them since Projector.

“Taxes,” the lead single, arrives with tribal drum patterns that feel like they could crack pavement. Then, it swerves into jittery, jangling territory, evoking Modest Mouse without sounding like a copy. It’s playful and anxious at once — exactly the kind of tonal tightrope Geese walk best. The song pulses with tension even as it tries to dance its way through it.

This new album feels like a full recalibration. According to the band, Getting Killed “obliterates any expectations,” and that promise mostly holds. The record isn’t just a stylistic shift — it’s a deliberate widening of their range. There’s still plenty of abrasion, but it’s now offset by clarity and, at times, disarming gentleness. Tracks like “Husbands” and “100 Horses” reportedly stretch into unfamiliar emotional terrain, and for a band that once thrived on post-punk chaos, that’s a sign of real growth.

There’s also a sense that Geese are finally writing toward something. Where their early work sometimes spiraled in on itself, Getting Killed sounds more directed, more narrative. The title alone suggests stakes, and the tracklist — “Cobra,” “Half Real,” “Au Pays du Cocaine” — promises a set of stories less concerned with genre boundaries than with lived tension. This isn’t the sound of a band reinventing themselves for the sake of it. It’s them finally getting comfortable being unpredictable on purpose.

The album is due September 26 via Partisan Records, and their tour kicks off in October with a packed North American run. If “Taxes” is the album’s first thesis, Geese are about to deliver a record that’s smart, jagged, and a little self-aware — the kind of wild energy that doesn’t just grow up, but grows sharper.