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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.'
Zach Condon
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Zach Condon
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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 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 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?'
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I can't be a student. I always hated that lifestyle.
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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 tend to hear rhythm and melody, chord-progressions, long before I hear words.
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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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It feels much more natural to move forward and grow with the instruments I've grown accustomed to. Piano, accordion, brass, ukulele.
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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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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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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 think, if I had my choice, I would spend all my time in the studio writing, and creating music.
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It's a natural tendency of mine to not even listen to lyrics.
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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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It's a little cheeky growing up in Santa Fe was kind of a weird experience, because it's such a touristy town. So sometimes it feels a little like you're in a town that's just on display. You walk around downtown and all the shops are galleries or high end boutiques, so it can feel like you don't belong there even though you are from there.
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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.
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I like to think that location, travel, etc, is a launching point for purely imagining.
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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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