ON 3D COUNTRY, GEESE PUSH THEIR REFUSAL TO BE LABELED A STEP FURTHER, USING PSYCHEDELIC COWBOYS AS A FOUNDATION FOR THEIR OUTLANDISH EXPLORATIONS.
WORDS: Benny Sun
July 2, 2023
“Jack of all trades, master of none,” as the saying goes. There’s a handful of variations that either reinforce or diminish the sentiment of the phrase. The ambiguous “jack of all trades” describes an individual who has spread their talents too thin to be fully appreciated, an implication formally expressed by the “master of none” element, coined roughly a century later. Yet as the figure of speech stayed in vogue, another expansion came about: “Jack of all trades, master of none, but oftentimes better than master of one.”
Geese refused to be labeled. Many turn to the alt-country tag, though others look towards punk and its countless offspring (what is art punk anyway?). Although they certainly have the elements of a progressive jam band, that answer is quickly rebuked by their reliance on careful writing and lyrical throughlines. So while 3D Country refuses to be confined to any singular sonic identity, its unrestrained spirit of exploration offers more than enough to justify a place in the saturated canon of modern indie.
It’s easy to listen to 3D Country and draw immediate comparisons to Geese’s forefathers. Opener “2122” harkens to the sound of Yes and Fragile, playing with progressive aesthetics even as a banjo twangs alongside the pounding guitars. It’s emblematic of the wide range of ideas 3D Country will go on to embody, especially as it devolves into punk chaos towards the end. Aspects of “Domoto” is unmistakably Berlin Bowie as well, as its piano foundation sounds like it could’ve been laid by Brian Eno himself, and all throughout the record, classic post-punk influences come to play, even if they’re distorted by external elements.
The metamorphology on 3D Country stands as its consistent highlight, featured on tracks like lead single “Cowboy Nudes,” which sandwiches a cacophonic percussion interlude within a sweet country anthem. Switchups on “Tomorrow’s Crusades” happen when you least expect it, as it flows from beautiful balladry to zoinky screams. Many other tracks tackle this multifaceted challenge, pinnacled by the 7 minute epic “Undoer.” The chaos is exhausting, and while not every climax is satisfying, nor is every transition perfect, it nonetheless makes for a rewarding and dramatic listen.
Even while turning down its zaniness, the record’s dynamic instrumentals and outlandish vocals are still riveting. “I See Myself” prides itself in its bold chorus, even with the most subtle instrumental of the record. Closer “St. Elmo” might be the most regular track here, but the racket of instruments featured make it far from a boring listen. Impressive further is lead singer Cameron Winter and his impossibly wide range of vocal styles and inflections. No two passages on 3D Country sound the same, chiefly thanks to Winter and his poor larynx. Winter’s wild performances perfectly accompany the album’s unbridled writing. It’s no easy task to make a concept album about a cowboy doing psychedelics in the desert sensibly, yet by the end of the record, there’s no longer anything weird about Winter’s drugged out longings for a lover scorned.
Geese are certainly the jack of all trades. Their refusal to align themselves with a single sound is central to the identity of 3D Country, but it’s hard to say they’re the master of none. Even if not every idea stuck the landing or even had the chance to spread its wings, 3D Country proved well enough Geese have a strong grasp on the variety they embody. As “St. Elmo” hits its last snare and the record comes to a close, the world is grateful they’ve chosen to be the master of none, as it sounds so much better than being the master of one.
Grade: A-
Listen to 3D Country here: