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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.

Zach Condon

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Zach Condon
Really
Obsessed
Dad
Guitar
Raised
Player
Around
Music
Wanted

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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 like to think that location, travel, etc, is a launching point for purely imagining.
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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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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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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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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.
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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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It's a natural tendency of mine to not even listen to lyrics.
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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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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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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'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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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 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 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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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 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 felt like I needed to get a few side projects out of my system before I settled in to do the new record. Usually what's asked of you, everything's a year cycle. When you get caught up in that cycle, it can be kind of brutal, actually. It was good I got to take a year off, with no pressure coming from anywhere.
Zach Condon