Comprised of Josh Smith (vocals, guitar and production) and Josh Freed (samples, synths and production), the Detroit, MI-based duo of Gosh Pith have quickly won the attention of the blogosphere for an aesthetic that focuses on capturing a specific feeling or sensation, rather than capturing a concrete narrative. Considering that the duo reportedly started the project after a drunken and psychedelics fueled late night walk through the streets of Paris in which they found themselves moved and marveled by the sounds of their voices echoing of narrow streets, the focus on capturing mood before anything else shouldn’t be surprising.
“Waves,” the duo’s first single was comprised of skittering beats, layers of ominously buzzing synths and vocals fed through layers upon layers of reverb evoked the sensation of sound reverberating off surfaces at weird angles, while bearing a resemblance to Grave Babies most recent effort, Crusher but with a sparseness that reminded me quite a bit of Beacon. However, “Smoke Bellow,” the duo’s second single was a much warmer, lush track with bursts of glitchy, staccato synths and layers of skittering percussion paired with soulful vocals. Theird latest single “Prints” continues a trend for the duo as their sound manages to become progressively warmer; in fact, the latest single manages to evoke the duo’s live sound – live instrumentation of guitar, bass and drums paired with swirling electronics. The live instrumentation believe it or not, manages to not only make their sound warmer but it also adds a grittier feel; and arguably, it may be the most rock-based single they’ve released to date.
Interestingly, as I’ve listened to the song I’m immediately reminded of Pop-era U2, in the sense that the song has an experimental air, but manages to be extremely accessible.