Brian D’Addario’s country baroque album, Till the Morning, stunned fans with its political messages, religious undertones, and more importantly, somber tenor. A detour from his work in The Lemon Twigs, Brian D’Addario stepped away from the expected musically exhilarating 60’s spunk, and instead traded it in for slow-moving, 1920’s bygone inspired tunes. When comparing it to The Lemon Twigs’ awe-inspiring albums, Do Hollywood, Go To School, Songs for the General Public, Everything Harmony, and A Dream Is All We Know, I believe that Till the Morning is great, but nevertheless falls short of achieving the same level of prowess.

Since September, Thom Yorke’s disciple, Cameron Winter, and his bandmates, Emily Green, Dominic DiGesu, and Max Bassin, have lived in my mind, haunting my dreams with their shambolic bedlams, thrilling instrumentals, and emphatic rhythms. Their sound, a mixture of punk’s chaos and rock’s nonsense-lyricism, is brilliant. Upon the release of their newest album, Getting Killed, I, along with millions of other listeners, have become disciples preaching the sanctity of Geese’s ethereal, uniform chaos. In comparison to 3D Country, Getting Killed scavenges the remains of its predecessor, repurposing the carcass as a house for newer, more confident sounds; thus, arising from this frankenstein product is a sonic autopsy unlike any other.