Beck, the American singer-songwriter and multi-instrumentalist, reflected on his enduring music career and creative influences ahead of the release of his latest album, *Ride Lonesome*, set for release on September 18 through Iliad/Capitol. Since emerging in the late 1980s, Beck has maintained a prolific output, continually evolving his sound and artistic approach.

Asked about what sustains his lengthy career, Beck described songwriting as an integral part of his life, likening the process to “digging in a mine” in search of worthwhile material. He indicated that even if he were to stop performing professionally, he would continue creating music privately, as it has always been a personal endeavor. His work alternates between more introspective, “lonesome” songs and funkier, upbeat styles, with the quieter, genre-defying pieces now resonating more with audiences than his earlier, more playful hits like *Loser* and *Odelay*. Beck noted that while his danceable tracks have sometimes been labeled as “fluke” successes, his reflective songs have become the preferred sound among fans today.

Reflecting on his early days, Beck recalled an unconventional interview with musician Thurston Moore in 1994, which involved a degree of unscripted performance art. The incident was part of Beck’s broader tendency to disrupt traditional media appearances, choosing to subvert the often rote and predictable nature of music interviews by injecting spontaneity and humor. Both he and Moore, coming from underground art backgrounds, saw their mainstream television exposure as an opportunity to challenge norms.

Beck also addressed the “slacker rock” label frequently attached to his earlier work. He considered the term reductive and contextualized it within a wider cultural shift of the early 1990s, when raw, underground music gained mainstream traction in contrast to the polished pop of the 1980s. He recalled being discouraged by record executives who saw his rough appearance as a commercial liability, but he emphasized that the movement was a reaction to overly curated music and culture.

Despite the massive success of his single “Loser,” Beck said he never entered the industry with expectations of longevity, instead focusing on the quality of songwriting as the key to sustained relevance. He noted that during his rise, catchy, pop-oriented songs were often disparaged as inauthentic, a view that has since softened.

Beck also touched on his collaborations and experiences outside of music, including working with producers the Dust Brothers on his 2005 album *Guero*. While the duo has largely stepped back from producing, Beck remains in occasional contact with them and acknowledged possible unreleased material from their past sessions.

On his venture into voice acting, Beck recounted his guest role on the animated series *Futurama*, which came after a period of turning down multiple Hollywood offers. He credited his bandmates for encouraging him to accept the animated role, which he described as a more comfortable fit given his reluctance toward conventional acting.

Beck further reflected on his musical tastes, citing early 1980s funk and artists like Sly Stone, James Brown, Prince, and Talking Heads as personal favorites. He also spoke about his connection to the film *Eternal Sunshine of the Spotless Mind*, which featured his cover of “Everybody’s Got to Learn Sometime.” He credited director Michel Gondry for inviting him to participate after a personal friendship developed, noting the song has become one of his most beloved recordings.

With *Ride Lonesome*, Beck continues to explore the blend of introspective themes and genre-crossing sounds that have defined much of his career, reaffirming his status as a versatile and enduring figure in contemporary music.