TY SEGALL

My favorite records are, like, The Pretty Things' 'Parachute' and 'S.F. Sorrow' and The Mothers of Invention's 'We're Only in It for the Money' and The Kinks' 'Village Green Preservation Society' - these records that have a story - even if it's not a literal story - because of how they're sequenced and flow. It's like a novel with sound.

I'm jamming 'Black Sabbath Vol. 4' all the time. Zappa's 'Cruising With Ruben & The Jets.' A lot of Gong lately. Some Hawkwind. The Residents' 'Duck Stab' is amazing. Some Fugs. Lots of stuff, man. I'm pretty schizophrenic with records.

I really like to think of each record as its own thing. So, for sure, but I hate the idea of being stuck in anything. Like I want to do a Hawkwind-style record too, or a noise rock record or a hardcore record. Why not, you know? I would just not want to keep heading too far in one direction, without pulling off and going the other way.

There's the conforming 9-to-5-lifestyle thing. Then there's, like, settling down, trying to find a balance in a relationship sense, or having a dog and having a house. All these things, like, they're not really gonna make you happy.

People spend hours constantly checking and tweeting and Facebooking. And it's cool to check up on your friends and see what's going on in the world, but it's not cool to spend five hours of your day on the computer looking at the Internet.

A CCR Headcleaner show will blow your mind.

I try to ignore the Internet. It's an evil, evil place.

I tend to write songs critiquing myself. The best way for me to deal with stuff is to write a song about it... That's not to say all my songs are like that.

Usually, I'm over-analyzing things that have to do with my own actions.

My dad is a lawyer and my mom is an artist. So growing up was exactly what it sounds like - strict household but a lot of creativity. They are so psyched that I get to make music for a living. My parents rule.

I've always had problems with my brain, so a lot of the songs are about issues I have with paranoia or freak-outs. 'When My Head Explodes' is about being on stage, having people look at you and expecting you to perform, then literally your head explodes.

A good record transports you to another place.

But I think it's hard for me to only put out one record a year. Because I get too antsy. But it's good I'm learning to do that, because each record counts. And you should make it count.

Any reality-TV show on MTV is gonna be fake and stupid.

I listen to a lot of stuff. I mean, I'm constantly switching up what I'm listening to.

I'm just a total nerd, in all honesty. I'm a massive, insane record fan - that's how I got into playing music. That's why I wanted to make an album - I'm obsessed with how sides flow.

I listened to oldies radio stations as a kid; lots of Kinks and Beatles and '50s hits.

Madonna was my favorite when I was a little kid.

I love Kool Keith; that guy's the best.

With Spotify and all those streaming services, you don't get paid anything. You have to be, like, Madonna or something to actually make a real royalty from that.

I really wanna make hip-hop music, but I don't know how to use any of the tools. Electronic, computer skills, I don't have those for engineering or making beats. I don't know how to use a sampler well. I don't know how to use any of these things.

When I sit down and try to write lyrics first - I've definitely done that in the past - but most of the time, they come off as a put-on, or less genuine than you would think. I'm the kind of guy that if I overthink a sentiment or I overthink a statement, it's weird.

A collaboration, you have to collaborate, meet in the middle, yield to the other collaborator, and that's a wonderful thing.

Growing up in Orange County, it was all O.C. punk, L.A. punk. Black Flag, all the SST stuff.

To me, rock n' roll is rock n' roll. I try to think of it as that. To me, Funkadelic and Metallica exist in the same world.