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- Summary: The latest full-length release from Los Angeles-based electronic artist Kaitlyn Aurelia Smith is said to be about synesthesia, flirtation and "Look at this" moments.
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- Record Label: Nettwerk
- Genre(s): Electronic, Experimental Electronic
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Score distribution:
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Positive: 9 out of 10
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Mixed: 1 out of 10
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Negative: 0 out of 10
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Aug 29, 2025Musically, 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.
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The WireSep 10, 2025A cheeky and addictive listen. [Oct 2025, p.64]
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Sep 11, 2025There are occasional times on GUSH when songs seem a little torn between being straightforward pop songs and avant-garde pieces, but for the most part, it’s these contrasts that ultimately give the album its beauty.
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Aug 26, 2025If Smith’s earlier albums tended to flush the sound field with twirling synthesized figures like so many kites in the sky, Gush turns up the gravity and clears out more negative space. Each sound bears more weight and locks more readily into prolonged grooves.
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Sep 22, 2025It seems like her songs have more repetitive hooks and direct lyrics than they did before. Her voice is still cloaked in effects which give it a supernatural tone, and she's evolved as a beatmaker, constructing tricky rhythms which guide the songs along, only stepping out in front on a few occasions.
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Aug 26, 2025It’s still a difficult record to parse – Smith’s complex collaging lends itself to attentive admiration – but on this release, she wants you to hear the concept. She wants you to see what she can hear.
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UncutAug 26, 2025Take the modulated soundscapes of, say, Terry Riley or Max Richter, add some beats, more warm analogue synth arpeggios and some fuzzy vocals and you've got a close approximation of Gush. [Sep 2025, p.39]