The Instagram profile of Kaitlyn Aurelia Smith is filled with images showcasing the West Coast producer’s calisthenics routine. Similarly, the promo for the album is a shot of Smith performing a variation of a press handstand on the seat of a motorcycle. Although not stated explicitly, the connection to bodily experiences is a key subject on Gush. Starting with an arrhythmia of pounding electronic beats, the opening ‘Drip’ ruminates on non-verbal communication with the protagonist unable to speak what they feel: “I keep looking away with my eyes on you”. Yet, the tension is here, punctuated by Smith’s angsty overdubbed vocals and dramatic brushstrokes of the Buchla synthesiser chords. The following tracks, with titles ‘Urges’ and ‘Gush’, suggest further development of the subject matter.
In the contemporary world, euphemisms are a convenient (and harmless) tool for self-expression. Hence, the idea of “the third thing”, described by Smith as inspiration for the record. This third thing can be an object, a medium providing a topic (or an excuse if you wish) for a conversation between two people who attempt to communicate and reach a common ground or just find out who they really are.
Musically, Smith’s electronic extravaganza finds kinship with such auteurs as Fever Ray and Estonian producer Maria Minerva. From shimmering hypnagogic pop on ‘Both’ to playful 8-bit ‘What’s Between Us’, Gush is inventive and unpredictable. On the other hand, it’s more direct and less phantasmagorical than the predecessor Let’s Turn It Into Sound. Up until the end, the songs have clear structure, melody lines and in some cases lucidity that conjures up her game-changing 2017 album Kid. Reaching the closer, the artist doesn’t overthink it. ‘In the Dressing Room’ is a 40-second sonic experiment (nearly a bebop improvisation) on the Buchla synths. A perfect and somewhat logical ending for the elaborate 40-minute record.
