The muscles are there simply to serve the head. But that isn’t how traditional players work at all; musicians know that their muscles have a lot of stuff going on as well. They’re using their whole body to make music, in fact.
BRIAN ENOI occasionally meet people and they say, ‘Oh, I was born to Discreet Music’… They always have very weird eyes, those people.
More Brian Eno Quotes
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I think very often producers are really trying to repeat things. When they hear something in the new songs that they recognize as being a bit like something that was a success on a previous record, they’re inclined to encourage that.
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Cultural objects have no notable identity outside of that which we confer upon them. Their value is entirely a product of the interaction that we have with them.
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I see TV as a picture medium rather than a narrative medium.
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For me it’s always contingent on getting a sound-the sound always suggests what kind of melody it should be. So it’s always sound first and then the line afterwards.
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For the world to be interesting, you have to be manipulating it all the time.
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I don’t like headphones very much, and I rarely listen to music on headphones.
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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.
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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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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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I wanted quite the opposite of that. I wanted them to accent their styles, so that they pulled away.
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When I went back to England after a year away, the country seemed stuck, dozing in a fairy tale, stifled by the weight of tradition.
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I got interested in the idea of music that could make itself, in a sense, in the mid 1960s really, when I first heard composers like Terry Riley, and when I first started playing with tape recorders.
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I hate the way CDs just drone on for bloody hours and you stop caring.
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When I was working with Talking Heads what would happen typically is that they would go out and start playing a track, and I would always run the tape.
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I love the sort of ambivalence of this, the ambiguity of something – being, for instance, in a quite busy Mexican restaurant with one of these very gentle tracks playing I remember as being particularly nice.
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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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Try to make things that can become better in other people’s minds than they were in yours.
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My lyrics are generated by various peculiar processes. Very random and similar to automatic writing.
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Lyrics are the only thing to do with music that haven’t been made easier technically.
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Most game music is based on loops effectively.
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At the beginning of the 20th century, the ambition of the great painters was to make paintings that were like music, which was then considered as the noblest art.
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Law is always better than war.
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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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The prospect of music being detachable from time and place meant that one could start to think of music as a part of one’s furniture.
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Music in itself carries a whole set of messages which are very, very rich and complex, and the words either serve to exclude certain ones or point up certain others.
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When people censor themselves they’re just as likely to get rid of the good bits as the bad bits.
BRIAN ENO