Zach Condon Quotes
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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 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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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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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 tend to hear rhythm and melody, chord-progressions, long before I hear words.
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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 like to think that location, travel, etc, is a launching point for purely imagining.
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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 that sonically, music speaks volumes more than words do, and I have always thought that and will continue to think that for the rest of my life.
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I think, if I had my choice, I would spend all my time in the studio writing, and creating music.
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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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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'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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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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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 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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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'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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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's a natural tendency of mine to not even listen to lyrics.
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There was always a unique Beirut sound, it was always there, and so this time I just dove straight into that, instead of daydreaming and wandering.
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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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My thought with harmonies and melodies in general, is that if it doesn't come right away then it's never going to come at all.