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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.

Zach Condon

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Zach Condon
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Trumpet
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More quotes by Zach Condon

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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 feel like I've met most people I look up to musically. I just want to meet Chef.
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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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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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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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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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I'm sure that's every adolescent's complaint about their home town. When a city is unstimulating, you get pretty isolated.
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My dad is obsessed with music, so I was raised around this guitar player that really wanted me to be a guitar player. One of my earliest memories is him kind of forcing a guitar on all my brothers and me. You know, You have to practice three hours a day! I hated guitar at the time. I kind of picked up trumpet to spite him.
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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'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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When a city is unstimulating, you get pretty isolated.
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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 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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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 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 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 try to shut my brain down as much as possible. And let the melodies flow, if possible.
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I tend to hear rhythm and melody, chord-progressions, long before I hear words.
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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'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