I’m fascinated by musicians who don’t completely understand their territory; that’s when you do your best work.
BRIAN ENOI don’t want to do free jazz! Because free jazz – which is the musical equivalent of free marketeering – isn’t actually free at all. It’s just constrained by what your muscles can do.
More Brian Eno Quotes
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All cultures have these feelings about non-functional areas of activity. And the more time people have on their hands, the more they commit it to those areas.
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What matters in modern music is not the part you can write down, the words and the tune, but the rest – the texture, the atmosphere, the references and associations.
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The idea that something is uncool because it’s old or foreign has left the collective consciousness.
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I wanted quite the opposite of that. I wanted them to accent their styles, so that they pulled away.
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Everything good proceeds from enthusiasm.
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People do dismiss ambient music, don’t they? They call it ‘easy listening,’ as if to suggest that it should be hard to listen to.
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The great benefit of computer sequencers is that they remove the issue of skill, and replace it with the issue of judgement
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There’s a kind of edge to what you’re doing, the kind of leading edge of what you’re doing. Inside that edge [are elements you] are familiar with, and are probably becoming slightly bored with, as well, over a period of time. “I’ve pulled that one out before. Oh, no, I can’t I’m just fed up with that.
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I’m not interested in possible complexities. I regard song structure as a graph paper.
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We have two different ways of working. One is completely unstructured where somebody just starts playing and somebody joins in and then the other person joins in, and something starts to happen. That’s occasionally what happens.
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All the best lyrics are written in ten minutes.
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I despise computers in many ways. I think they’re hopelessly underevolved and overrated.
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One of the things you’re doing when you make art, apart from entertaining yourself and other people, is trying to see what ways of working feel good, what feels right.
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I wanted to get rid of the element that had been considered essential in pop music: the voice.
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If you think of the way a composer or say a pop arranger works – he has an idea and he writes it down, so there’s one transmission loss. Then he gives the score to a group of musicians who interpret that, so there’s another transmission loss.
BRIAN ENO