There is a bomb in the car, and Cameron Winter wants company. Trinidad opens Getting Killed with a situation already beyond repair. JPEGMAFIA joins the shouting. Before Geese have settled into anything resembling a reassuring introduction, the passengers have a decision to make.
Chris DeVille’s Stereogum review describes the song moving from spare bass and wah-wah guitar into trumpet and violent drum fills. His account catches something important about the record’s humour: the jokes happen inside the panic. Winter’s characters are dealing with poverty, war and the prospect of divine punishment. They can still be ridiculous. Fear has never made people especially dignified.
The New York band recorded its third studio album with Kenneth Blume in Los Angeles over ten days. Partisan’s account notes limited overdubbing alongside Ukrainian choir samples, drum machines, guitar riffs and passages resembling lullabies. The deadline did not reduce the range of material. It limited the time available to reconsider how those unlikely combinations should work.
Winter had released his solo album Heavy Metal in December 2024. Getting Killed returns his voice to a group in which bass, drums and guitar can interrupt or redirect the singer. DeVille’s description of Trinidad makes that relationship particularly clear: its escalation depends on what the players introduce around him.
Trinidad begins with an emergency and still finds room for an invitation. That is a better introduction to this band than the recording deadline: Winter’s alarming scenario gives the musicians something to exaggerate, interrupt and make absurd. The humour comes from staying in the situation after any sensible person would have left.