Artist of the Month Geese Break Down Debut Album Projector Track by Track: Exclusive

"We like the idea of confusing the listener a little," the band said

geese projector new album stream track by track photo by Daniel Topete
Geese, photo by Daniel Topete

    In our recurring feature Track by Track, artists take us through the inspirations behind each song on their newest release. Today, Geese go track by track through their debut album Projector

    Honk if you like good music: New York rockers Geese have unveiled their debut album Projector. Stream it in full below.

    Consequence’s November Artist of the Month are fresh out of school, having recorded the album in a home studio during their junior and senior years of high school. Cameron Winter is the singer and primary songwriter, and as he tells us, some of these tunes came to him while schoolwork was “boring me to tears.” Gus Green and Foster Hudson wield guitars as shimmering and forceful as ocean waves, and Dom DiGesu (bass), and Max Bassi (drums) provide the sometimes groovy, sometimes thunderous rhythm section.


    Projector strikes a giddy balance between fun and challenging, with irresistible hooks briefly interrupted by violent splashes of dissonance. “We like the idea of confusing the listener a little,” the band said in a statement, “trying to make every song a counteraction to the last, pinballing between catchy and complicated, fast and slow.”

    The album was mixed by Dan Carey, and preceded by the singles “Disco,” “Low Era,” and “Projector.” Geese are currently touring in support of the project, and tickets are available through Ticketmaster. Check out the album, and read the stories behind each of the songs, below.

    “Rain Dance”
    We came up with the title “Rain Dance” first; it felt primal and mysterious, and seemed to demand something really wild and immediate, so we wrote a really fast song where the guitars were in a different time signature than the rhythm section. For some creepy lyrics, I (Cameron) tried to inhabit the mind of someone with Alzheimer’s, maybe someone apologizing to their child, trying to make sense of their surroundings.

    “Low Era”

    This was us trying to write an actual radio-friendly song with a chorus and a danceable rhythm, just to see if it was too much for us. Evidently it was, cause we still stuck a big fat outro jam on the end. Gus and I worked together to get a sort of shifty, spider-y guitar part. I scrapped the lyrics where I said “Low Era” early on, but the name remained.

    “Fantasies / Survival”
    We wanted a song that we could play at an upcoming house party to get everyone hyped up, so I wrote this song, with a “drop” and everything. The house party never came to pass (thanks covid) but the song stuck, and now it’s our favorite track to play live. The lyrics are written from the POV of some sort of bohemian serial killer.


    “First World Warrior”
    This song is Max and Gus’ baby, and I’ve always found it to be really beautiful. I sent over an early demo while I was away visiting family and they fleshed it out into a really cool ABAC type ballad. Afterwards I added the orchestra part at the very end. I remember writing the lyrics during history class, about this sort of selfish first-world guilt I was having at the time, which inspired the title.


    We wanted a really big centerpiece song right from when we started working on the record. I originally had the idea for the first few sections in an SAT prep workshop which was boring me to tears; I remember writing out that guitar riff in seven that goes up and down the scale on my phone in the notes app. We thought we were being cute / ironic calling it “Disco,” since it was about the furthest thing from 4 on the floor we could muster.


    The very first song we wrote for the album was “Projector.” It was very direct and kind of raw compared to what we typically wrote, and that distinction set the tone for the rest of the album. I tried to write the words from the perspective of a delusional, night-crawling junkie / incel type character, which ended up being fun and giving me more confidence for writing the rest of the album’s lyrics.

    “Exploding House”
    This was among the last songs to be ironed out for the record. We came up with the name early on, but then scrapped the first version we had of it. We still liked the title, so Max, Gus and I literally sat in a circle with 2 guitars and a bass and rewrote it in one sitting. It came out sounding kind of like three songs in one.

    We recorded this one at 2:00 am with no soundproofing, so this is our quietest track. I pretty much only had the main dueling guitar part when I came in; the rest of the song was dreamt up while we were learning / recording it. Dan Carey, who mixed the record, added his famous swarmatron to fill it out and washed it in delay, and I think it makes it sound really ghostly and pretty.


    “Opportunity Is Knocking”
    Unlike most of the other tracks, this song went through a ton of changes, and it sucked pretty much right up until the very last version. The lyrics are probably the most labored-over as well; they’re different because I tried to write them from a more personal place than the others. It’s an optimistic song about the pain of realizing the world is a terrible place, but being happy anyway.

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