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I fell off a bridge when I was 14, then had surgery when I was 17. Now my left wrist is an inch-and-a-half shorter than my [right one] and doesn't quite have the mobility to wrap around a guitar neck without a bit of pain.

Zach Condon

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Zach Condon
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I'm swept along by larger forces out of my control.
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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 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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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 that within the world of music that we work in, which is so not perfect, I think that you really do have to learn to accept your own mistakes as part of the beauty of music itself.
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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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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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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'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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The way Jacques Brel writes a story, getting into the character, bringing out all his faults and qualities in the same song.... Not that I could ever write in such an epic way, but it really is a different way to go about writing lyrics...and I find that quite inspiring.
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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 dropped out of high school and I tried to go to community college for a little while. I can't be a student. I always hated that lifestyle.
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I think that there's a proliferation of music that is done entirely in the bedroom for an Internet audience, but there's no way in hell that you could actually kill off a live show, and its importance in the creation of music - it's just impossible.
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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 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 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 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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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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