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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.

Zach Condon

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Zach Condon
Path
Lyrically
Give
Instrumentation
Giving
Drunken
Way
Trumpets
Think
Guide
Thinking
Guides
Tend
Follow
Raucous

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I tried to go to community college for a while, and it's a funny story. I walked into the English class on the first day, and they told us to write about what we did over the summer. I can't remember exactly, but I think I walked out exactly at that point and went to the office to ask for my money back.
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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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I tend to hear rhythm and melody, chord-progressions, long before I hear words.
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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 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 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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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'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 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 just not an image I had ever put out about myself - the bedroom synth guy. The whole thing seemed ridiculous.
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I was always looking outside of myself for stories and ideas and influences and then I kind of realized in 2010, that all of this time, I've developed a sound. And I've never fully explored it.
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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.
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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 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.
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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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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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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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When a city is unstimulating, you get pretty isolated.
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I'm not an amazing trumpet player. It's mostly smoke and mirrors. You shake the trumpet and it starts to vibrate in a ridiculous drunken way, or you flop notes at the right time and you don't have to play stuff that would take seven years to learn.
Zach Condon