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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
Left
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Fell
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I love the community and the entertainment too much. I'm used to it - it's what I saw first.
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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 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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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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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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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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I'm swept along by larger forces out of my control.
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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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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 tend to hear rhythm and melody, chord-progressions, long before I hear words.
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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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In the age of the mp3, you gotta make the package special, something that's worth owning.
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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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It's a little cheeky growing up in Santa Fe was kind of a weird experience, because it's such a touristy town. So sometimes it feels a little like you're in a town that's just on display. You walk around downtown and all the shops are galleries or high end boutiques, so it can feel like you don't belong there even though you are from there.
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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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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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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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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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