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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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More quotes by 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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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 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 think, if I had my choice, I would spend all my time in the studio writing, and creating music.
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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 love the community and the entertainment too much. I'm used to it - it's what I saw first.
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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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After so many years of whispery, DIY vocals, there's this new generation of voices that are really starting to burst through the seams.
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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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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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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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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'm not an amazing trumpet player. It's mostly smoke and mirrors. You shake the trumpet and it starts to vibrate in a ridiculous drunken way, or you flop notes at the right time and you don't have to play stuff that would take seven years to learn.
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I can't be a student. I always hated that lifestyle.
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I felt like I needed to get a few side projects out of my system before I settled in to do the new record. Usually what's asked of you, everything's a year cycle. When you get caught up in that cycle, it can be kind of brutal, actually. It was good I got to take a year off, with no pressure coming from anywhere.
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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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My dad is obsessed with music, so I was raised around this guitar player that really wanted me to be a guitar player.
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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 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
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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.
Zach Condon