Ty Segall

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

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.

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.

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.

I grew up in a super suburban place where the mundane middle-class issues were similar to what Ray Davies was singing about. All the topics he was singing about were middle-class woes and humanitarian woes - human-being woes.

A good record transports you to another place.

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 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 think 'Freedom's Goblin' is a very political title.

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.

The idea of 'Freedom's Goblin,' to me, leads to a wild conversation. I would hope that father and son, driving home from the record store, could have a conversation about what that title means. Because to me, it's the duality of being free: the evil and the good, and how it's a constant paradox.