llllllllllllllllllll wrote: Listen to it or don’t but there is much worse music made by much richer, much worse people that is way more pernicious than these kids.

Well said!
I will add: supportive parents and access to resources make a huge difference, no doubt, but the idea that anybody's rich dad can just cut a check and turn their kid into Geese (or The Strokes) is fucking absurd.
There are rich kids out there trying very hard to do just that, and you haven't heard of them and you never will.
Similarly, if hiring a publicist could get any shitty band to be talked about as much as Geese has been talked about, there would be so much Geese discussion that no one would have time discuss anything else. You can easily spend A LOT of money on publicists and reach absolutely no one. Geese is doing something that people are responding to and that's not just a matter of cash or PR.

llllllllllllllllllll wrote: Fri Jan 30, 2026 2:28 pm Listen to it or don’t but there is much worse music made by much richer, much worse people that is way more pernicious than these kids.

I've never cared if kids making music came from money or not and don't really understand why it bothers anyone. Seems like being in a band and disappointing your dad is a better thing to do than go to Business School and join a frat.

First time listening to them now after clicking this thread. Was hoping they'd be more of a rock band. They sound like what you'd expect a band called Geese to sound like.

Every generation gets the Strokes it deserves (derogatory).

CRAP.

Jacques wrote: Fri Feb 06, 2026 10:05 am Every generation gets the Strokes it deserves (derogatory).

CRAP.

I like this. Will adapt and steal.

It's all over the radio now. It SOUNDed okay, like kind of jammy and mellow Bonaroo rock, but there seems to be nothing memorable about it. The Strokes had hooks at least.

https://theface.com/music/cameron-winte ... eavy-metal

"Winter’s writing is dense with allusion, from Hellenic odes like Heavy Metal​’s Nausicäa (Love Will Be Revealed) and Getting Killed​’s Sisyphean Husbands, to the cocksure pantomime of American imperialism on 100 Horses and Au Pays du Cocaine. One of his trademarks is the deftness of his rock references. On Heavy Metal​’s The Rolling Stones, he nods to the keening Midwest emo of Tigers Jaw, folding a fragment of their soul-bearing refrain, ​“But my emotions ran unopposed /​I felt just like Brian Jones,” into his tumbling folk dedication to trying and failing to write the perfect song. At times it’s both sillier and more subtle. Try singing, ​“I came up here to sleep in your infamous kitchen,” from Cancer of the Skull in your best Bob Dylan voice. Now, think of Dylan as you hear Winter sing the line, ​“Songs are meant for bad singers.”

Winter closes Getting Killed by calling out to Buddy Holly, Don McLean and folk legend Pete Seger on the epic Long Island City Here I Come, while the rest of Geese furiously careen through a crumbling wall of sound. ​“It’s a human thing to copy other people,” he says. ​“It’s how you learn to speak, it’s how you learn to walk, you copy, so when people don’t copy at all it feels like a rejection of the fact that they’re just flesh and blood.” Winter is no exception. ​“A lot of stuff I make starts too derivative and then I just cringe at it listening back, so I have to find a different way until I stop cringing,” he levels. ​“The question is always: how much allusion can I tolerate?"

Cringe, indeed. He should stop talking about his music.

enframed wrote: Fri Feb 06, 2026 11:13 am https://theface.com/music/cameron-winte ... eavy-metal

"Winter’s writing is dense with allusion, from Hellenic odes like Heavy Metal​’s Nausicäa (Love Will Be Revealed) and Getting Killed​’s Sisyphean Husbands, to the cocksure pantomime of American imperialism on 100 Horses and Au Pays du Cocaine. One of his trademarks is the deftness of his rock references. On Heavy Metal​’s The Rolling Stones, he nods to the keening Midwest emo of Tigers Jaw, folding a fragment of their soul-bearing refrain, ​“But my emotions ran unopposed /​I felt just like Brian Jones,” into his tumbling folk dedication to trying and failing to write the perfect song. At times it’s both sillier and more subtle. Try singing, ​“I came up here to sleep in your infamous kitchen,” from Cancer of the Skull in your best Bob Dylan voice. Now, think of Dylan as you hear Winter sing the line, ​“Songs are meant for bad singers.”

Winter closes Getting Killed by calling out to Buddy Holly, Don McLean and folk legend Pete Seger on the epic Long Island City Here I Come, while the rest of Geese furiously careen through a crumbling wall of sound. ​“It’s a human thing to copy other people,” he says. ​“It’s how you learn to speak, it’s how you learn to walk, you copy, so when people don’t copy at all it feels like a rejection of the fact that they’re just flesh and blood.” Winter is no exception. ​“A lot of stuff I make starts too derivative and then I just cringe at it listening back, so I have to find a different way until I stop cringing,” he levels. ​“The question is always: how much allusion can I tolerate?"

Cringe, indeed. He should stop talking about his music.

Man, we've heard of ill-advised music decisions based on fear (like having the producer meddle with the artists' songs and sound) but now musical decisions are based on being cringe?

Absolute gutless shit, this state of music. I'll be going to the Signs You’ve Reached Old Age thread and talk about the benefits of peeing while sitting at like 3 am.

Honk / Not Honk is too non-descript. The poll options should be changed to Cringe / Not Cringe in honor of this article.

Cardholder wrote: Fri Feb 06, 2026 12:24 pm

enframed wrote: Fri Feb 06, 2026 11:13 am https://theface.com/music/cameron-winte ... eavy-metal

"Winter’s writing is dense with allusion, from Hellenic odes like Heavy Metal​’s Nausicäa (Love Will Be Revealed) and Getting Killed​’s Sisyphean Husbands, to the cocksure pantomime of American imperialism on 100 Horses and Au Pays du Cocaine. One of his trademarks is the deftness of his rock references. On Heavy Metal​’s The Rolling Stones, he nods to the keening Midwest emo of Tigers Jaw, folding a fragment of their soul-bearing refrain, ​“But my emotions ran unopposed /​I felt just like Brian Jones,” into his tumbling folk dedication to trying and failing to write the perfect song. At times it’s both sillier and more subtle. Try singing, ​“I came up here to sleep in your infamous kitchen,” from Cancer of the Skull in your best Bob Dylan voice. Now, think of Dylan as you hear Winter sing the line, ​“Songs are meant for bad singers.”

Winter closes Getting Killed by calling out to Buddy Holly, Don McLean and folk legend Pete Seger on the epic Long Island City Here I Come, while the rest of Geese furiously careen through a crumbling wall of sound. ​“It’s a human thing to copy other people,” he says. ​“It’s how you learn to speak, it’s how you learn to walk, you copy, so when people don’t copy at all it feels like a rejection of the fact that they’re just flesh and blood.” Winter is no exception. ​“A lot of stuff I make starts too derivative and then I just cringe at it listening back, so I have to find a different way until I stop cringing,” he levels. ​“The question is always: how much allusion can I tolerate?"

Cringe, indeed. He should stop talking about his music.

Man, we've heard of ill-advised music decisions based on fear (like having the producer meddle with the artists' songs and sound) but now musical decisions are based on being cringe?

Absolute gutless shit, this state of music. I'll be going to the Signs You’ve Reached Old Age thread and talk about the benefits of peeing while sitting at like 3 am.

Honk / Not Honk is too non-descript. The poll options should be changed to Cringe / Not Cringe in honor of this article.

I don't know that seems a little unfair to me. Any longtime songwriter with any kind of width to their listening is making a lot of decisions based on what they don't want to do. You make stuff and some of it comes back to you appearing as a thing you want to avoid. For someone of that guy's generation he might call it cringe. I've definitely demo'd something that was going to have a kind of Cheap Trick feel and the demo came off more Green Day and I said, "Nope. This one's out." I wouldn't call that fear, just taste.

I remember reading about Stereolab starting and they wanted to make sure it was different first, before they worried about it being good. Sometimes the process isn't additive, it's subtractive.

I dare you to go through the entire set without closing it.

https://www.youtube.com/watch?v=qIol9hi ... rt_radio=1

On the first song I think he says "there's a party in my back door" and all I can think about is how much I miss anal sex.