Building on the success off their Exposure Therapy EP last year, GUSH return with their new single ‘Like That’.
The release finds them refining and expanding upon the sound they established on their EP. The song writing is sharper and more focused which is reflected in the production. Jonny Woods (1980 Something Studios/Wynona Bleach) is at the controls this time, with a focus on capturing the live sound of the band. The result is a gargantuan thunderous stomp; bass and drums are foundation shakingly massive, while watery chorus guitar melodies add sparkle before the speaker shredding fuzz kicks in for the chorus. Taking influence from the likes of QOTSA and Spinnerette then mashing them together with their grungier Seattle based influences gives Gush their now signature sound.
Chelsea’s cherubic delivery explodes into a sneering venomous exorcism in the chorus that gives way to a desperate cry of ‘What to do?’ in the middle section of the track. Lyrically the song deals with battling your own internal monologue, gaslighting yourself into believing the more convenient answer rather addressing the issue. The band say “’Like That’ mirrors the chaos of a turbulent mind. Like a storm, it builds with intense energy, crashing between moments of calm and fury. The aggressive reflect the emotional conflict within, making it an anthemic ride through inner turmoil. The tempest persists.”
When it came time to create the visual language for the single, the band turned to longtime collaborator Ebony Alexander. Having built up a shorthand from working together on previous releases it allowed the band to reach their goal quickly. Ebony is responsible for the artwork, photos and video.
The video, fittingly shot at an abandoned, supposedly haunted house in Carnfunnock, is based around the narrative of a lonely astral soul that lurks around an old, abandoned house, waiting for someone to come along to befriend. As the band approach and discover the girl, they flee in terror. She follows, only curious and intending to befriend them.
