Our Two Skins

Three years after Gordis full-length debut, Reservoir, landed in the Top 20 in her native Australia, songwriter Sophie Payten returns with a more personal follow-up, Our Two Skins. It was informed by a series of major life events that included coming to terms with her sexual identity, ending a relationship, and even finishing her years-long studies to become a doctor. Some of the related feelings of isolation -- especially regarding identity -- led her to track the album in a cabin with no phone reception, Wi-Fi, or modern plumbing at her parents farm in her remote hometown. Not entirely self-recorded, however, she did collaborate with co-producers Chris Messina (Bon Iver, Big Red Machine) and Zach Hanson (Bon Iver, Hand Habits). Opening song Aeroplane Bathroom helps frame Our Two Skins as a breakdown of sorts, with closer Free Association ending with a corresponding creak and slammed bathroom door. After the field recording, Aeroplane Bathroom starts with minimal piano and the fragilely delivered line Do you see yourself unravelling? The song continues in kind, seeming to function as a six-minute guide into this albums more-intimate environment. Warbled, atmospheric electronics eventually expand the sound design, as do subsequent tracks, like the bright, harmonic full-band pop of second track Unready and the lush, shimmery Limits, whose arrangement includes scuttling electronic drums. The sparer tracks are where Gordi really excels, though, such as on the impassioned Radiator, whose simple keyboard accompaniment draws focus to her vulnerable, almost Phoebe Bridgers-like vocal performance of lyrics about loving from afar. Songs like that one, the opener, and Look Like You stand in contrast to poppier entries including Limits and Sandwiches, a toe-tapping, alt-rock-tinged tribute to her grandmother, that keep the album in a melancholy zone but temporarily debark the plane. ~ Marcy Donelson

オーストラリアの女性シンガーソングライター、ゴーディことソフィー・ペイテンのニュー・アルバム。ボン・イヴェールとの活動でも知られるクリス・メッシーナとザック・ハンソンが参加しているが、もともと交流のあった3人なだけに息もぴったり。コテージに運ばれた限定された楽器、1か月という制限された時間のなかで仕上げられた内容はどこか牧歌的で神秘的、透明感のある印象的な歌声が柔らかく響き渡る。
bounce (C)中井幹代