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I put myself in the studio and I really made sure to say, 'Well, if I would normally reach for a trumpet, why don't I reach for the next nearest instrument instead?'

Zach Condon

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Zach Condon
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There was always a unique Beirut sound, it was always there, and so this time I just dove straight into that, instead of daydreaming and wandering.
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I try to shut my brain down as much as possible. And let the melodies flow, if possible.
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My dad is obsessed with music, so I was raised around this guitar player that really wanted me to be a guitar player. One of my earliest memories is him kind of forcing a guitar on all my brothers and me. You know, You have to practice three hours a day! I hated guitar at the time. I kind of picked up trumpet to spite him.
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It's a weird thing to be nineteen and be in the public eye. It was a crazy thing, it was a big deal to me, and it changed me in a lot of ways. And now that it's five, six years later, I wanted to look back at that, the start of it all, the excitement and the naïveté about it, and it just fascinated me to reflect on all that.
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I write one step at a time, always finishing off the part I'm working on before even thinking about the next part. I need to hear it all together before deciding what goes next. I even mix before moving on...in other words, I write by recording.
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Raucous drunken trumpets and instrumentation tend to guide the way you think. They can give you a path to follow lyrically.
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I'm very flash and burn - the first thing that comes to mind is obviously the best idea, and that's because it should come out of a natural place, and if you don't do that then you're writing someone else's music, not your own.
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I want a song that raises the hair on the back of my neck when I sing it live and I want to feel it every time.
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I feel like I've met most people I look up to musically. I just want to meet Chef.
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It was funny to just take a backseat and be like, 'Wow, I might be in this crazy place, but maybe I don't need to understand everything, maybe I don't need to be someone else.'
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As much as I try to grow as a lyricist, I tend to laugh at even calling myself that, because I think that my actual talents lie more in arrangements than they do words.
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In the age of the mp3, you gotta make the package special, something that's worth owning.
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I'm swept along by larger forces out of my control.
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I'm sure that's every adolescent's complaint about their home town. When a city is unstimulating, you get pretty isolated.
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You can never not feel like that, as a working artist these days. It's funny - time off makes me nervous, but so does time on. At least the pressure wasn't coming from outside.
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The way Jacques Brel writes a story, getting into the character, bringing out all his faults and qualities in the same song.... Not that I could ever write in such an epic way, but it really is a different way to go about writing lyrics...and I find that quite inspiring.
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There is a beauty to touring - to be honest, there's a way that music connects and you really feel the actual reaction of people to the music that you're making, and I feel like if I didn't do that I just wouldn't know, and I don't think my music would be the same.
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I fell off a bridge when I was 14, then had surgery when I was 17. Now my left wrist is an inch-and-a-half shorter than my [right one] and doesn't quite have the mobility to wrap around a guitar neck without a bit of pain.
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I do feel like my music, in some weird way, is probably better suited for cinema than for anything else - I can't really explain, other than I think that music has been mostly inspired often by soundtracks.
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I was always looking outside of myself for stories and ideas and influences and then I kind of realized in 2010, that all of this time, I've developed a sound. And I've never fully explored it.
Zach Condon