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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.

Zach Condon

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Zach Condon
Instruments
Ways
Many
Dilettante
Feel
Dilettantes
Feels
Stretching
Years
Picking
Way
Like
Thin

More quotes by Zach Condon

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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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It's just not an image I had ever put out about myself - the bedroom synth guy. The whole thing seemed ridiculous.
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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 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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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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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 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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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 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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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'm swept along by larger forces out of my control.
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When a city is unstimulating, you get pretty isolated.
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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'm writing songs about New York. A lot of them carry the names of neighborhoods in Long Island. Maspeth, Montauk. I'm getting into the idea of a F. Scott Fitzgerald-esque Long Island back when New York was...New York.
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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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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 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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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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There was always a unique Beirut sound, it was always there, and so this time I just dove straight into that, instead of daydreaming and wandering.
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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.
Zach Condon