Goth rockers VOSH on inspiration and creating darker worlds
By Scott “Maybe I am goth after all” Belzer | April 6th, 2025
There’s something magical about connecting to a piece of music. For most folks, it’s a rebel yell, a beautiful melody, a peak after a slow build, a THICCBOI riff—or all of the above.
In the case of Washington D.C. goth rockers VOSH, listeners, and concertgoers can get all of the above. The band offers an aggressive version of Chromatics by way of Perturbator and The Cure that’s more sensual than gloomy, bringing listeners a feast of sound that checks most music nerds’ boxes (or at least one (mine)).
But what goes into creating this sound? How do you balance aggression, sexuality, and depressive emotions before transforming it into something transcendental and cathartic? Perhaps more importantly, how do you bring such an emotional journey to the stage?
I sure as hell don’t know. So we decided to ask VOSH ourselves.
1. What is VOSH? What’s it’s origin story? Out of such a varied music career like yours, how does a project like VOSH come into being?
Chris and Josie: VOSH is just a name that we came up with. We just thought it sounded cool. We had another project called Aertex that Josie and I started with Carson Cox when he was living in DC. Similarly to VOSH, this project was born out of our love for goth, heavy metal, pop, industrial, and punk. When he moved back to Florida we changed the name to Vosh and continued writing songs.
2. The subject matter and overall ethos for VOSH is quite different from the aggressive/rebellious nature of projects like Coke Bust, Repulsion, Kontusion, etc. I can imagine the overall songwriting process differs as well! What does that look like for the band? How does a song go from inception to completion?
Chris: Sonically, it differs, but the amount of aggression that goes into playing these songs is the same for me. Since the music is slower, I tend to hit my drums a lot harder as well. The songwriting process usually starts with drums or a bass line and then Josie and I will collaborate on it adding synth and guitar parts. Sometimes, Josie will have a vocal hook or a few lines and then we build the song around that. There is no real formula to the process, we just feel it out and see where it all takes us.
3. You can hear a TON of influences in VOSH’s sound, ranging from older to more contemporary. If you had to narrow it down, what are the band’s chief influences for melody, rhythm, and vocals?
Chris and Josie: We have many influences- and between all of us, the range in genres that we are interested in is vast. We of course love early industrial, like Ministry, Skinny Puppy, etc. but also have influences from pop which lends itself to some of the songwriting structure and melody. We like to blend a lot of genres, and the culmination is VOSH.
4. And about those vocals. Wow! What’s the secret to getting such a powerful range? What sort of ritual goes into prepping for a show? What sort of practice goes on in the background during downtime?
Josie: Thank you! My personal rituals have changed over the years, but usually, I take a moment alone before we go on to breathe, center, and prepare to connect in a new way. A lot of it is grounding for me, shedding the business of life and allowing the present moment to be front and center. I think it’s just about getting in the right head space. As for practice, I try to warm up vocally but sometimes not the best at remembering to do that, haha. It’s all a practice, and those practices always change and shift.
5. Gloomy, industrial, hypersexual goth music has had various forms. The way it looks, sounds, and resonates with people has changed a lot since the 90s, for example. And yet it continues! What sort of role does the internet play in spreading VOSH’s message to the masses? Who are the biggest VOSH heads these days—old school goths or Gen Z internet kids?
Josie: The internet has certainly helped spread the word. It’s cool to me that music is so accessible to people, especially younger kids who are searching for music that really resonates with them. When I was growing up, I felt like it was harder for me to figure out what I was really into because the internet was just getting started. I know some people get annoyed about the accessibility of it all now, but I think that gatekeeping is stupid—let people learn new things, hear new sounds, and experience cultures they might not normally run into! We have a varied fan base which I love—all ages, all walks of life. I think it’s all about connection; that’s one thing I love about going on tour. You meet people you’d never normally run into, the music resonates with them and suddenly you’re now friends with someone halfway across the world.
6. VOSH is a very visual band live, and even has a live album (!). How important is that live experience for you and, by proxy, your listeners? How much importance is placed on the visual element? What can attendees expect at the upcoming show?
Josie: The live experience is one of the most important aspects. So many times, I’ve loved a band on record and then I go see them and the entire thing falls flat. There’s no energy, people don’t seem to care etc. When I see a band, I want to feel something. I want to connect, I want it to stir multiple senses. I want to be completely transported from my own world. That’s what we aim to do. When the music starts, it’s pure connection with the people in the room. We incorporate our own lighting, we have tweaked what gear we use to create another world. So, no matter where we play, a big venue or a tiny dive, anyone who comes to see us gets a real show. It’s a real pleasure to be able to bring that energy each night, regardless of circumstance.
7. Congrats on the European tour! Europe certainly seems to have a greater appreciation for alternative/heavier music and maybe even subculture in general. What do European audiences bring to a goth/industrial show that Americans can’t seem to fathom?
Josie: We loved playing Europe. On a general level, there’s an actual infrastructure for music and arts over there unlike in America—meaning the government cares enough about it to have a real budget for it. So, everyone in the industry gets paid a little more and you can tell everyone is a little less stressed out which makes a difference when you roll up to a new city. To be welcomed and have people be excited is very nice. I think it depends on where you go, both in Europe and in America of course, but there was a real sense of excitement that we had come out there—they appreciated that we took the time and effort to get there. There’s also a very large scene for this kind of music which is awesome.
8. What are you listening to right now that most folks have forgotten about/don’t know about? What should VOSH fans be listening to?
Chris: Lately I’ve been listening to Naked Eyes, Robert Lester Folsom, and always lots of Neil Young. Nothing really obscure or out of the ordinary, just easy relaxing stuff to get through the winter.
9. What sort of advice do you have for folks who hear VOSH and think, “Wow, I love this. I want to do this too”?
Chris: Do it. Life is short and inspiration isn’t an ever-flowing stream for most people. You have to take the inspiration, energy, pent-up aggression, whatever, and run with it. Take chances and step outside of your comfort zone.