Cover Image: Robert Zielinski performing by the Torbay Inlet, the landscape that inspired “Kiangardarup.” Photo: Manuela Centanni.

Q: What inspired you to create Kiangardarup, and how did the landscape of Torbay Inlet in Albany influence the music?
A: I didn’t set out to write this music, it came out of deeply listening and just being in a place that is very special to me. It was only later I realised the melodies I had floating around in my head were a suite that went from dawn to dusk at the Torbay Inlet, and dusk to dawn in the karri forest. So, it is 24 hrs in that place. I view the fiddle as like the main storyteller, the flute is the answer to the fiddle, just like the call and answer or echo that exists in the wild and it also inhabits the sky. The bouzouki is like the top of the water, and the cello is underneath the surface of the water and the soil.

Q: The album’s name is deeply rooted in local culture – tell us about its meaning. 
A: Kiangardarup is one of the original names for the country around the Torbay Inlet. It was sourced from an old map from 1830 and given to me by Minang Elder, Vernice Gillies.

Q: You spent six years bringing this project to life – what were the most rewarding parts of that journey?
A: I have always loved being in the bush, so the most rewarding parts were recording there and watching and hearing the other wonderful musicians record their parts – just to see it all come together piece-by-piece.  

The challenge was recording outside with the wind, rain, frogs and crows. It was an extremely intricate album to mix, with the birds and nature sounds in my original field recordings then adding in more nature sounds to give the listener the sense they were in Kiangardarup.  

Q: Why did you take this unconventional approach of recording in the bush?
A: I recorded the suite twice in the Perth Concert Hall, but it didn’t quite work artistically; it was too aloof and grand. I wanted the listener to feel close to it, almost like they were inside it, playing it themselves, and the sense of space you get from being outside in the Australian bush. Also, the pieces came alive when I played them in the places that inspired them and there was no clock ticking, so I could take my time.

Q: Tell us about the collaborators who helped shape the final album.
A: Melinda Forsythe on cello, Jim Green on bouzouki, and Manuela Centanni on wooden flute who put their hearts and souls into this album in so many ways. We couldn’t have made the album without Lee Buddle, whose 30-plus years of experience as a sound engineer steered us through on many occasions. It was a pleasure to work with mastering engineer, Andrew Walter in Abbey Road Studios, in London. We both agreed to leaving the album quite raw and natural. Finally, Manuela’s input over the last four years has been pivotal – I simply could not have finished it without her.

Q: How did each of these locations shape the final sound of Kiangardarup?
A: The karri forest recordings were quite sweet, as there was a lot of moisture in the air – for example in the Minang Moon Lullaby. Whereas the upper inlet recordings, where I used the surface of the water as the reflective surface, are glassy and quite gritty, for example in The White Bird. 

Q: How does your background in traditional Irish music and violin making influence the album?
A: Traditional Irish music is my musical language; I have played it since I was seven years old. I was lucky enough to learn from both Sean Doherty and Mick Doherty (no relation) in Perth. Mick, being from an iconic family of Irish fiddle players from Donegal, had a huge influence on me. When I was 17, I moved to Ireland and lived on the west coast for 14 years, learning from the older generation of traditional Irish players. So, the suite is somewhat built on that framework – marches, reels, slip jigs, a lullaby – but there is also more abstract free form in there, which is new for me so surprised me! When I moved to Torbay, I finally gave myself the time to make my own violin and when I finished it, I had this piece…it’s like they are connected in some way I can’t explain.

Q: Kiangardarup has already received significant recognition, including three silver medals at the Global Music Awards and a finalist spot at the InterContinental Music Awards. What do these accolades mean to you?
A: To be honest, I was amazed, I couldn’t believe it! I never imagined it would be recognised internationally. I am very happy for everyone involved in it as well. 

Q: The album has been described as “a love letter to Torbay” and “a masterpiece.” How do you hope listeners experience it, especially those unfamiliar with the region?
A: I hope that people will take the time to read the sleeve notes prior to listening. The album contains a 28-page booklet with the backstory and Manuela’s beautiful photographs. I think the album can be listened to in many ways; every individual listener will take from it something different.

Q: What’s next for you – are there new projects on the horizon?
A: I am working on new compositions, including Waychinicup inspired by Waychinicup National Park. Manuela and I would also love to take Kiangardarup to more live audiences, with Manuela’s photographs and the bush sounds underpinning the whole performance. I also have plans to make myself another violin and a viola for the new album.

Our next show is at the Kalamunda Performing Arts Centre on Saturday 9 August with guest musicians John Reed on bouzouki and French cellist Camille Lalanne – full details and tickets here.