Ty Segall Quotes

When I was growing up, I was always looking for the most willfully uncommercial music: Whether it was Captain Beefheart or Frank Zappa or King Crimson, that's what attracted me.

I'm into heavy duty, psychedelic, foreign music. That's what I like listening to.

The late sixties and early seventies were kind of a breeding ground for exciting new sounds because easy listening and folk were kind of taking over the airwaves. I think it was a natural next step to take that blissful, easy-going sound and strangle the life out of it.

In the old days, maybe we'd come across Captain Beefheart, buy a record, go, 'This is great!' and notice how his music is evolving, changing, and becoming more complex, more radical. And we would follow that progression and see it reflected in the alternative culture it came from.

There would not be Skaters or Emeralds or any of these bands if it weren't for Double Leopards.

I've always felt that all the music I've made is psychedelic, including Throbbing Gristle.

Tame Impala's music revisits a time when guitar effects and studio tricks were music's newest frontiers; when rock was barely old enough to drive and violently threw conventional ideas out the window.

I've put out records over the years, whether it's with Blackfield or No-Man or Bass Communion or Porcupine Tree, that are pop records, ambient records, metal records, singer-songwriter records.

I listen to all those kinds of music, from classic soul to hip-hop to Brazilian music to, you know, jazz to indie to alternative. So whatever. I listen to all if it. Classic rock and classic pop, all of that.

If someone says 'grunge' or 'punk,' you know what the sound is, but if you say 'No Wave,' it's kind of mysterious. That was the most interesting part and should have been the most inspirational thing about it... here's this collective sonic insanity, and none of it sounds anything alike.

When I was a teenager in the '70s, I was really into those great bands like Led Zeppelin and Queen and Jethro Tull, Deep Purple, Alice Cooper.

When people say, 'Your music was the music of the Seventies,' I say, 'So was discoteque.' The Seventies was also the highest peak of heavy metal. Pick a genre - they were all alive.

I like their darkness but I also like the pop-side of the Velvet Underground.

I like expansive stuff that has a lot of space in it, like some of the early Pink Floyd albums.

It's very schizophrenic because I like a lot of very straight pop, like Small Faces, Stones, Kinks; and on the other hand, I like a lot of avant garde things.

Silver Machine still sounds really modern with all the white noise. It's a bit punky in a way. They were ahead of their time.

Hawkwind are one of those bands that people introduce you to because you don't see them on the covers of magazines. I'd heard 'Silver Machine' but Russell Senior, who was in Pulp, got me into them. They had a song called 'Master Of The Universe' and we nicked the title in 1985 for one of our songs.

Good records - from my point of view, where I grew up which was Led Zeppelin and Jethro Tull... bands that were pushing the envelope a little - musically and in production.

The Zombies were really unique - they had elements of jazz and classical music in their songs and songwriting. They had a very, very different sound compared to a lot of their contemporaries at the time.

When Talking Heads started, we called ourselves Thinking Man's Dance Music.

As a teen, I heard the second Velvet Underground album, 'White Light/White Heat,' and it was too much for my limited scope of appreciation. It was intense, but I didn't get it.

'Beck-Ola' is a weird album.

Our audience seems to be able to handle whatever kind of weird opening acts we turn them on to. I mean, sometimes it happens to be something like a band like Nirvana or Mudhoney, and other times, its just weird noise crews that we dig up.

We grew up with every type of band from Primus to Mr. Bungle to Elton John to pop music to metal, and we try to throw it all in a blender. And whatever comes out of that is more Avenged Sevenfold than metal or metalcore.

Bjork's album, 'Homogenic,' it's got beats, strings, traditional Icelandic stuff. That's my benchmark for what an album should sound like, right up there with Coltrane's 'A Love Supreme' and Marvin Gaye's 'What's Going On.'