So, that means you can only play either very high or very low or both. And we’re going to stay there until I take my finger down.
BRIAN ENOHuman development thus far has been fueled and guided by the feeling that things could be, and are probably going to be, better.
More Brian Eno Quotes
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With all fashion, what we do is play at being somebody else. We play at inhabiting another kind of world.
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The thing that obsesses me more than anything is waste – the waste of human intelligence and creativity.
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It’s nice, I think, when people use your music for things you didn’t think of.
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I hate the thought that someone had picked up one of my song records and was really excited about it, and walks [out of] a record shop with On Land and is disappointed because it isn’t what they wanted.
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We’re going through this super-uptight era, which I think comes entirely from literacy, actually. It’s the result of machines that were designed as word processors being used for making music.
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The most important thing in a piece of music is to seduce people to the point where they start searching.
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As soon as you externalize an idea you see facets of it that weren’t clear when it was just floating around in your head.
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I think the other thing that’s important is getting to a place, which very, very rarely happens with improvising groups, where somebody can decide not to play for a while. You watch any group of musicians improvising together and they nearly all play nearly all the time.
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I hate the way CDs just drone on for bloody hours and you stop caring.
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Anything popular is populist, and populist is rarely a good adjective.
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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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The tools are evolving, and people’s interests are evolving as well. So, suddenly people like to hear bands, people like Devendra Banhart or the xx, bands that make a kind of virtue of sloppiness.
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I had an interesting day. I was in the studio with a group of musicians, who shall remain nameless, and I said to them “Our exercise today is not to use ‘undo’ at all. So, there’s no second takes. Or, if you do a second take, you have to do the whole take.
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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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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.
BRIAN ENO






