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

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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 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 released that side of things really as kind of an introduction to where I came from musically, back in the day when all I had was a keyboard, a drum machine, and a four-track. So I was doing these little synth-pop ditties, and it's how I learned to write.
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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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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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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 could probably spend the next five years reworking an album from ten years ago, if given the chance, to make it better - make it best, so to speak.
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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.
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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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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 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 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 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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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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It's a natural tendency of mine to not even listen to lyrics.
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When a city is unstimulating, you get pretty isolated.
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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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After so many years of whispery, DIY vocals, there's this new generation of voices that are really starting to burst through the seams.
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