I think we’re about ready for a new feeling to enter music. I think that will come from the Arabic world.
BRIAN ENOAmbient music is intended to induce calm and a space to think.
More Brian Eno Quotes
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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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Once I started working with generative music in the 1970s, I was flirting with ideas of making a kind of endless music – not like a record that you’d put on, which would play for a while and finish.
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Stop thinking about art works as objects, and start thinking about them as triggers for experiences.
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I do sometimes look back at things I’ve written in the past, and think, ‘I just don’t remember being the person who wrote that.’
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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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Of course, like anybody I repeat myself endlessly, but I don’t know that I’m doing it, usually.
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I 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.
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I don’t like celebrity programmes – but I do like programmes about how ideas are formed and evolve.
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I’ve got a feeling that music might not be the most interesting place to be in the world of things.
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All the best lyrics are written in ten minutes.
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Avant-garde music is sort of research music. You’re glad someone’s done it but you don’t necessarily want to listen to it.
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Some people are very good at being ‘stars’ and it suits them. I’m grudging about it and I find it annoying.
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If I tried to make a commercial album, it would be a complete flop. I have no idea what the world at large likes.
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For the world to be interesting, you have to be manipulating it all the time.
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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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Not many people bought Velvet Underground LPs, but those who did, started a band.
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I often work by avoidance.
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I don’t like headphones very much, and I rarely listen to music on headphones.
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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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In England and Europe, we have this huge music called ambient – ambient techno, ambient house, ambient hip-hop, ambient this, ambient that.
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I don’t live in the past at all; I’m always wanting to do something new. I make a point of constantly trying to forget and get things out of my mind.
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Being completely free to choose what to do is actually quite difficult
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Saying that cultural objects have value is like saying that telephones have conversations.
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The Marshall guitar amplifier doesn’t just get louder when you turn it up. It distorts the sound to produce a whole range of new harmonics, effectively turning a plucked string instrument into a bowed one.
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The biology of purpose keeps my nose above the surface.
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The vinyl commands a certain kind of reverence because it’s a big object and quite fragile so you handle it rather carefully, and it’s expensive so you pay attention to how it’s looked after.
BRIAN ENO