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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.

Zach Condon

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Zach Condon
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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 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.
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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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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.
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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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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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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'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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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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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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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 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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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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I try to shut my brain down as much as possible. And let the melodies flow, if possible.
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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 can't be a student. I always hated that lifestyle.
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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 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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