The Australian Instrument Handbook has gone into the studio, recording an Australian Instruments album.
We spoke to Paul Sayer, the album’s lead guitarist, about his inspirations, and how he got the inspiration to do this project.
First of all, how did you first come up with the idea of making an Australian Instrument album?
Paul:I was always a fan of old records from the 1970s and 80s, so I always loved how they had this weird sound, like a mix of a drum machine and an acoustic guitar, or something like that.
I also love the way the instruments sounded in the mix.
I think it was a combination of those things that I loved about the sound of those records and the sounds of the instrumentation, which I think were very similar.
It was a little bit like, “Oh, there’s this instrument, this synth, this drum machine, this acoustic guitar.”
It just happened to be that they all sounded really similar.
When you started writing, did you feel like you had any specific style in mind when you were writing the songs?
I guess what I’m trying to say is that the idea that this was an album of an Australian instrument is a bit of an exaggeration, but it is what it is.
I suppose that the songs sort of just sort of grew organically out of that.
It was really fun making this record, to be honest.
You know, when I was a kid, I would just sit in front of the radio, and I would be playing, and then I’d listen to the songs and then go back and listen to them again.
And it was very easy to make a record that was more like an album, because the music had just come to me from that.
You could kind of make a song into an album.
It’s also interesting that the first time I actually listened to the Australian Instruments albums was when they came out.
I remember thinking that they sounded so different, and the way they played.
It just felt like it was so different.
And that was really, really fun.
So, I guess the first album is the first thing that I thought of, when the idea came to me.
You’ve just got this big, beautiful, big record, and it’s like, what’s going on here?
But then you’ve got the second album and you realise that it’s a record of a whole bunch of things.
You can see all the different things that have happened to the sounds that I love.
And then I think that’s when it clicked for me, that it felt like the Australian Instrument was really good, and that was very much the inspiration for the record.
When did you get the idea for the Australian instruments album?
The first time that I was inspired by an instrument was when I listened to a song called “Innocent,” from the album.
It’s a song that is basically about a young girl, and she’s a violinist and she has this idea that she wants to do something with her violin and she does some things with her guitar.
It kind of sounds like a violin piece, and when you listen to it, you’re really thinking, oh, she’s got these big, gorgeous, big strings on her.
And I remember the first recording of that was at a friend’s house.
I had a cassette player and I was listening to that cassette, and a friend came over and was like, oh my God, that’s beautiful.
I thought, this is so cool.
So I just listened to that and thought, that feels like the sound I wanted to have, and from that point on, I kind of started to listen to other recordings of that instrument and the other recordings and that kind of thing.
I’d just play that song, and as I was playing it, I realised that I wanted it to sound like the instrument, and so I started making more and more of it.
It became this big thing that had an interesting vibe to it.
What were you listening to at the time?
At the time, I was really into the Beatles.
I was into the Velvet Underground and stuff like that, but I wasn’t really into American bands, like, the Ramones.
So that’s why when I first heard that song I was like oh, this sounds like it could be really cool.
And so that was the first one that I actually really listened to.
And from that moment, I just started to work with the recordings, and eventually I had all the recordings that I could get my hands on.
And when I got to the point where I was just recording it, there were about six or seven other tracks that I didn’t like.
So it became kind of a big project.
The idea was that you would put it out there and everybody would be able to listen and find something to like it on, so you wouldn’t be limited to just one person.
You’d be able hear all the other stuff that