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

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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 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 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 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 tend to hear rhythm and melody, chord-progressions, long before I hear words.
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The more I know, the more I realise I don't know. And the more I realise I'll never truly understand.
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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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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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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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The greatest thing about my house was that I was in the far end of it and I could make as much noise as I wanted. By the time I moved out, I had a full-sized piano, two full-sized organs, bits and pieces of a drum kit, and a whole computer set up for Pro Tools. I had this mattress in between the piano and the organ. That was the only walking room.
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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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When a city is unstimulating, you get pretty isolated.
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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 feel like I've met most people I look up to musically. I just want to meet Chef.
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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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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 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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In the age of the mp3, you gotta make the package special, something that's worth owning.
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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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I'm swept along by larger forces out of my control.
Zach Condon