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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.

Zach Condon

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Zach Condon
Years
Burst
Really
Vocal
Voices
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Generation
Generations
Voice
Seams
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Vocals

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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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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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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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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.
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I can't be a student. I always hated that lifestyle.
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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. One of my earliest memories is him kind of forcing a guitar on all my brothers and me. You know, You have to practice three hours a day! I hated guitar at the time. I kind of picked up trumpet to spite him.
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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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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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In the age of the mp3, you gotta make the package special, something that's worth owning.
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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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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 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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When a city is unstimulating, you get pretty isolated.
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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'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 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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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.'
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I tend to hear rhythm and melody, chord-progressions, long before I hear words.
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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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