If you’re the type who likes to listen to EPs of Australian folk-pop singer-songwriters on headphones whilst lying in your adolescent bed, clutching a framed photo of your crush to your chest, eyes held tightly shut, just YEARNING – then this one is gonna have you saying “more Gordi, please!”

The whole EP makes me feel like Hunter or Parker or whoever is moving away at the end of the summer, and oh no, it’s the end of the summer already and we only have one weekend left! One sweet weekend with which to dig deep within ourselves and experience the kind of feelings we knew we were always meant to feel. But also, it’s sad because our fleeting moments of happiness are never long for this earth, no not ever. And yeah, maybe they did us wrong but that’s okay because we came out of it stronger and now we know. We KNOW! 

Inhuman covers a whole range of textures and arrangements, going from delicate and sparse (with a moody undercurrent of foggy bass swells) to full band tunes with the sort of groove that one could feasibly bop their heads to. 

It closes out with a cover of the Dolly Parton tune “Grass is Blue”, and like the songs that precede it, it’s husky-breathéd and sparse. Rich velvety textures of piano and synth, ringing the chords on the downbeat with just a bit of snap-crackling hiss droning in the margins. 

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Album opener “Aeroplane Bathroom” is an intense, minimalistic ballad that immediately grips the listener and keeps them engaged for the full six minutes. “Do you see yourself unraveling?” Gordi asks in the first line. “I’m so sick of coming undone,” she continues a few lines later. It’s Gordi’s voice that takes center stage and carries the song throughout, accompanied by sparse piano riffs and a crinkly, vinyl-like sound that gives the track an even deeper sense of intimacy. At various junctures, you can even hear what seems like a chair creaking, or wind rushing in through an open window. It is perhaps the best reflection of some of the themes present in the album, such as isolation and minimalism. The album was recorded in Peyton’s small and remote hometown of Canowindra in New South Wales (population of just 2,381). She recruited the help of Chris Messina and Zach Hanson to help her capture some of these themes sonically. In turn, this feeling of remoteness, of being alone with one’s feelings and faults, crops up throughout the album.

With “Unready,” Gordi injects a blast of pop into the record, getting things moving and upbeat after the slow, moody introspective catharsis of “Aeroplane Bathroom.” Pushed on by a modest yet powerful drum and bass groove, Gordi again captures with her vocal performance, this time layering herself to come up with a bigger, more surrounding and encompassing sound. It’s a perfect follow up to “Aeroplane Bathroom.” “Volcanic” and “Radiator” bring things back to the mellow, emotionally vulnerable mood that shapes the album. On the latter, Gordi drops a piano riff reminiscent of something from Fiona Apple’s repertoire. “Extraordinary Life” begins with a whimsical acoustic guitar strumming that seems to float on top of a cloud, which orchestrates a vibe that will have you wanting to walk through the city in the early morning hours, reminiscing over good times and bad. 

Gordi saves one of the best tracks on the album for last. “Sandwiches” combines Gordi’s affinity for balladry and poetic lyrics with some of the uptempo energy of a track like “Unready.” Swirling synths match electric and acoustic guitars, all anchored by Gordi’s deep and powerful vocals. “When I think of you, a movie reel of moments plays” is perhaps the standout lyric of the entire album and the earnestness with which Gordi delivers it makes it feel entirely genuine and authentic.

Our Two Skins is a standout effort from Gordi, one that showcases the depth of her ability as both a musician and as a crafter of narratives. Gordi doesn’t hesitate to put the unfiltered version of herself on every track, and as a listener, that’s all you can hope for. 

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On June 7th Gordi played a truly intimate show at Toronto’s Drake Underground. Joined by a small group of fans and friends Payten shared that her band was only in town for 12 hours, definitively just passing through. She has a soft and charming presence, rocking up and down in her Blundstones, Payten hardly looked up at the crowd often closing her eyes to feel the music flow through. But the few eyes that were in the room were on Gordi. Live production is as good as on record, perhaps a little more relaxed but deeply soulful.

Though Gordi may have already wrapped up the tour you should still keep an eye on this young Australian singer/songwriter, she is deffinitly one to watch.

photo by Erik Shaw

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Gordi is wholesome. She’s like a leaf musically floating down from a tree to remind her listeners that everything in life happens for a reason and that things always get better, even if they get worse first.

This is Sophie Payten’s first EP as Gordi, though she did release a cover of Courtney Barnett’s “Avant Gardener” earlier in 2016.

Something about Gordi’s music is incredibly organic, even when it features electronic elements. In this way, it’s incredibly similar to Fleet Foxes, but nowhere near as dark. Sometimes, the electronics of the tracks make them sound like acoustic songs that have been remixed for a club, but never in a way that sounds forced. This is one of the unique qualities of Gordi’s music. In fact, the creative freedom Gordi takes with her voice is a testament to her confidence in the diversity of her music.

The lyrics in this EP tend to be positive and uplifting, but operate best under the assumption that the listener already believes life is dismal. My favorite track is definitely “So Here We Are” because of the content tone it takes on, as well as the use of instrumental breaks to help tell the story. It’s very matter-of-fact, a virtue present in every track.

Clever Disguise will be available on iTunes and Amazon on May 13.

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