I've always loved listening to music on my own, but there's another side of me that is just fascinated by... like Goa trance, for example - just a rave on a beach in India, you know? Where there's someone that's spinning the music, and it's just this free-flowing, continuous energy.

At different times in life, I've felt like it's time to say goodbye from some form of myself that's been hanging around for a while - you just feel this urge to move on, like a herd of antelope. They're just standing there in a field eating grass. You feel like that as a person sometimes. Where's it's just time to move on.

I've always liked pop music. I love what it does to my brain, and I've shut it out for a long time.

I've always been of the idea that is doesn't really matter where you are geographically - with 'Lonerism,' we made half the album in Australia, half the album in Paris.

The first time someone asked us for an autograph was the moment we realized we were doing something that most people spend their teenage years dreaming about, for sure.

Tame Impala has two lives. One is the album, which is like a producer, and the other life is like a band: more of a live incarnation where we're basically a covers band for the albums that I produce.

I like a messy hotel room. It's a little slice of home.

Listening to my dad playing guitar along to 'Sleepwalk' by the Shadows was probably the first time I discovered emotion in music.

It's largely a misconception that Tame Impala is a band. We play as a band on stage, but it's really not how it is at all on the album. The album is just me.

Some of my most important musical experiences were from a burnt CD with songs my friend downloaded for me at a terrible digital quality.

I don't think you can reach the same highs working in a band as you can on your own.

My personal life, my musical life, my life as an artist - almost everything has pointed all these little arrows that make up which way I go as a person and what I feel comfortable as my identity.

With 'Innerspeaker' I was trying to do these hypnotic '60s grooves, but it was so hypnotic and repetitive that they sounded like they were sampled. It was making electronic sampled music but using real instruments to do it.

Tame Impala is kind of psych-pop.

Making music is so spiritual. I'm not a spiritual person, but music is sacred to me.

For me, it's always been draining to be around people for too long because I'm naturally a pretty expressionless person. From an early age, I found being alone incredibly liberating.

Grunge gave me a sense of identity, and I remember really associating with 'Silverchair,' who were these chilled-out Australian teenagers. The fact that they were teenagers was a big deal for me. It was like, 'Oh, man, you don't have to be a 30-year-old to do this.'

The more confidence I get with making music, the more I feel like I can just rely on myself to fulfill me.

I used to think interacting with people in the audience, touching people in the crowd, was a total ego-based thing. I never realized how fulfilling it would be. It's more about being on the receiving end - it's people giving. That's a powerful realization.

In high school, I was an absolute derelict.

I don't really hear the Beatles when I listen to my own music.

I wanted to make something that, from the sound of it, could be down at the club. I just realised that I'd never heard Tame Impala played somewhere with a dance floor or where people were dancing.

I hate when bands make beige, middle-of-the-road music. I guess you can say 'Lonerism' is the war on beige music.

There's so many people doing interesting things with the Internet and technology, there could be so many ways of making music and listening to it.

There's all this talk of music needing a monetary value, this ownership of music, even that it needs a physical form. But intrinsically... it's music. It should be better than that.

Songwriting has become such a big part of what I do that emotions and the melodies that accompany them blur into one.

To me, rock and roll is like an ethos or a state of mind.

I'm actually in love with all of Scandinavia.

I love to be able to put my hands on a keyboard, to have a guitar and a bass within reach, as well as all the effects.

The more I question myself about why I think pop is taboo, the more I realize it's not.

Michael Jackson's one of my favorite artists of my whole life. In fact, I think he is my favorite. It's one of the first things I fell in love with before I learned about genres and before I knew what was cool to like.

I grew up in the grunge era. I've always resisted the idea of being part of a machine, wanting just to be an artist in my own right. But at some point, I just realized shutting things out took more energy than just letting it in.

I'll write songs wherever I am.

It's kind of always been a secret fantasy of mine, the idea of writing a song and then not having to be the face of it.

Trying new things and experimenting is something I push myself to do. It's one thing to have love for all different kinds of music; it's another thing to bring them together seamlessly and make them coherent.

It's funny how concert dreams are such a recurring thing among musicians. It's like how everyone has that dream of their teeth falling out? Except musicians have this dream of just standing onstage and there being all these people out there, and for some reason, the song isn't starting.

For me, the value of music is the value you extract from it.

I had this weird fetish for making the guitar sound like it wasn't a guitar to try and trick people into actually thinking it was a keyboard. I don't know why that was such an obsession, why I didn't just get a keyboard. I guess it was because I had no money.

After my grunge phase, I started opening my horizons and listening to more electronic stuff. I got into Radiohead, specifically 'Amnesiac' - my brother gave me that album.

The way I do it is there's never recording 'sessions.' One finishes, the next one starts. It's just continuous.

Once I've got something that I feel is strong, if I get long enough to think about it, it'll turn into something. I'll start thinking about the drums - what the drums are doing, what the bass is doing. Then, if I can remember it by the time I get to a recording device, it'll turn into a song.

For 'Lonerism,' I really wanted make a non-psychedelic record. That's why the dominant instrument is the synthesiser, but maybe it didn't quite turn out that way.

The inspiration to write a song comes to me when something has happened to me more than once. If it's happened to me more than once, it's probably happened to other people.

I guess I'm not saying that I think music should be free, but I do think that if people can get it for free, there's nothing anyone can do to stop them. It's kind of a waste of energy to try and force them to pay for it if they don't have to.

I used to download music illegally. Everyone has. No one is innocent. Everyone has done that.

If someone says, 'Hey man, I love your album, it really got me through a breakup, but I downloaded it for free,' I'll be like, 'Good! That's good!' Maybe he didn't have the money for the album, but if he still listened to it, and it's an important part of his life, that's all I can ask for. I don't want his twenty bucks.

Obviously, artists need to make money and stuff like that, but if you do something good or if you make good art or make good stuff, the wealth will find you in some way.

I think after a long tour and after an album, your brain feels like it wants to relax, but at the same time, making music for me is something that comes kind of naturally. Just like a brain process.

I always manage to keep myself busy.

What do you call that when you add '-ism' on the end of a word? What is that process? 'Wordism'? Something like that, yeah.