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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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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 think, if I had my choice, I would spend all my time in the studio writing, and creating music.
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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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In some ways, I feel like I've been such a dilettante for so many years, just picking up instruments and stretching myself so thin.
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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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I like to think that location, travel, etc, is a launching point for purely imagining.
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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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The more I know, the more I realise I don't know. And the more I realise I'll never truly understand.
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I think I spent more time on the mellotron than on any other instrument in the studio, and it got to the point where I was like, Well, you can't write an entire album on this instrument. But maybe I would!
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I have tried to write soundtracks, and the main problem with those was that the directors often had in their minds a much stronger sense of what they wanted to hear, than what I was willing to give them, and I guess there was no way to say, Well why don't you write your scene around my music? Because that's just cocky and awful.
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I could probably spend the next five years reworking an album from ten years ago, if given the chance, to make it better - make it best, so to speak.
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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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My thought with harmonies and melodies in general, is that if it doesn't come right away then it's never going to come at all.
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As a teenager and a young adult, I never felt like my own story was interesting enough to tell, so I always wrote lyrics from someone else's perspective - told someone else's story.
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I just reached the point where I realised, I need to stop repeating myself if I'm ever actually going to enjoy the music I'm creating.
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When a city is unstimulating, you get pretty isolated.
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I can't work in Brooklyn. Unless I'm completely locked away in a studio, there's just too much distraction and stimulation.
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I released that side of things really as kind of an introduction to where I came from musically, back in the day when all I had was a keyboard, a drum machine, and a four-track. So I was doing these little synth-pop ditties, and it's how I learned to write.
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I think it's become much harder because I'm more afraid of every step I take. I'm more aware of its ramifications, I'm more aware of the less creative aspects of music - like the business-side of things for example.
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What was pretty crazy was to plan a wedding around a tour. It felt very getting-hitched-in-Vegas style. It was like, we played a show in Salt Lake City, ran to New Mexico, we got married, and then I was off to Lisbon.
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