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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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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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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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Often when I find myself listening to music, at least 60 to 70% of it is foreign, so I don't understand a word of it. Melody to me will always be a million times more important than words.
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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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I'm swept along by larger forces out of my control.
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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 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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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 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'd been living out of a suitcase since I was 17 years old, and it just got to the point where it was ridiculous. Besides, it was really hurting everything I was trying to do in music to feel so consistently homeless was no way to endure touring and stress.
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I think that within the world of music that we work in, which is so not perfect, I think that you really do have to learn to accept your own mistakes as part of the beauty of music itself.
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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 tried to go to community college for a while, and it's a funny story. I walked into the English class on the first day, and they told us to write about what we did over the summer. I can't remember exactly, but I think I walked out exactly at that point and went to the office to ask for my money back.
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I was a very good student until about sophomore year, and that's when I just became so disillusioned with the whole thing that I just became an awful student. I was still making good grades. But I was cutting class three days a week and faking papers that I got off the internet.
Zach Condon
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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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I love the community and the entertainment too much. I'm used to it - it's what I saw first.
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It's a natural tendency of mine to not even listen to lyrics.
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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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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.
Zach Condon
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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.
Zach Condon