Ty Segall Quotes

I'm never too ambitious when I go into the studio. I always know that I'm just going into the studio to work on or try to develop an idea that I have for a song.

And then the last album, 'Get It', was done over a shorter period of time and I started using other musicians, as opposed to playing all the instruments myself like I did on the other two.

I sit and write songs alone and then get together with people to help me flesh it out into a recording.

What I liked about doing a soundtrack is that it's almost the opposite of any kind of normal recording that a band does, because it's very much a restricted, narrow... And I kind of like that, I find it exciting to work within these things.

The problem is that once I start on a song and get a rough idea of where I might go with an arrangement, I try dozens, sometimes hundreds, of different things on a song. The bass, the backing guitars, the lead guitars, the keyboards. It's a long process. It's like 100 steps forward and 99 steps back.

When we were making Speaking in Tongues and Remain in Light, we were jamming. From that we were taking the best bits and then recording and improvising on top of those.

Fleetwood Mac always take a long time to make a record - you know what.

With Mr. Bungle, I'd lay down a really rough demo of my vocals and then play them for the guys without telling them what I was saying. Our drummer at the time had the coolest takes on what he thought I was saying, so I'd ask him to write out what he thought the lyrics were.

We were proud of our first two records, but the parameters were pretty narrow. We didn't have full drums, for example. There were just so many limitations to that setup, and we really fully explored them.

I worked on 'Cadillactica' with the mind to not sample as much and focus on creativity.

With 'Slave Ambient', I was writing things on top of loops. Now I really get the structure of the song down, but I leave room for improvisation in the studio.

I can spend hours and hours and days and days in the studio changing the music, because I love that.

Static-X has never been a band where the four guys get into a room together and jam and write songs and all that kind of stuff.

I always try to evolve my sound - innovate, improve, be different but still Martin Garrix. It all starts with an idea in my head, which I work on until it starts to shape itself into a track.

I never really had the chance to play the kind of music I wanted to play. It was always just classical. It had its limits. I play piano now and again in the new forms of music that I actually want to play, but at the time, it was something that I just kind of moved past.

What happens with writing a song and demoing it, for me the demo always becomes the master.

I just like a beat that grabs me. And then I'll come up with a concept after. I like to take my time with music.

I never got the chance to put drums on 'Watersigns,' because the company was in a rush to release it - and me.

Thundercat, specifically, is insane. I'm always surprised at the things he comes up with when we're jamming out together. I gotta try to keep up with him and his ideas, be able to respond without speaking, and come through with some more music. He challenges me to keep it musical and not so computer.

Recording and performing 'Replay' was a learning process throughout, as we focused on the details.

I think of the Tycho sound as something separate from the band. I think the methodology and approach to production I use on the Tycho records can be applied to a lot of things. But from a performance and songwriting perspective, yes, Tycho is a live band.

I'm always looking to develop my sound and I'm in the studio whenever I have the time to do this. Always looking ahead!

When I first started making music, I wrote the lyrics first, but now, because the music has got kind of wilder, I've flipped it.

I waited until the end of the 'Behold Electric Guitar' recording sessions to record 'A Herd of Turtles,' as I knew the unusual arrangement might raise some eyebrows.

If we found an ashtray in the studio, we'd try to play it and find a part for it in a song.