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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.

Zach Condon

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Zach Condon
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More quotes by Zach Condon

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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 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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You always know when a real inspiration is behind the melody, arrangements, even lyrics. And I know that's really vague, but it's true.
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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 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 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 I came back to America, I realized that world music is no joke, it really has a lot to it.
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I like to think that location, travel, etc, is a launching point for purely imagining.
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The greatest thing about my house was that I was in the far end of it and I could make as much noise as I wanted. By the time I moved out, I had a full-sized piano, two full-sized organs, bits and pieces of a drum kit, and a whole computer set up for Pro Tools. I had this mattress in between the piano and the organ. That was the only walking room.
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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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I dropped out of high school and I tried to go to community college for a little while. I can't be a student. I always hated that lifestyle.
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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 spent my entire life working with the smallest budget I could get. Just working with old, junky, donated equipment. The only things I bought myself were the trumpet and the $9 ukulele.
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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'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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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 feel like I've met most people I look up to musically. I just want to meet Chef.
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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 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.
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I think that sonically, music speaks volumes more than words do, and I have always thought that and will continue to think that for the rest of my life.
Zach Condon