Look closely at the most embarrassing details, and amplify them.
BRIAN ENOThere are hundreds of manufacturers always producing dvices that in general do the same things. Since they have slight structural differences if you take one and fool around with it and give it a good kick it will actually do something that it wasn’t designed to do.
More Brian Eno Quotes
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People always focus on people like me who use synthesizers, right, which are explicitly electronic and therefore obvious.
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I had a lot of trouble with engineers, because their whole background is learning from a functional point of view, and then learning how to perform that function.
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Most of those melodies are me trying to find out what notes fit, and then hitting ones that don’t fit in a very interesting way.
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I prefer to shoot the arrow, then paint the target around it. You make the niches in which you finally reside.
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You know that in order to copyright material somebody has to write it down for you. Any piece of recorded material has to be scored in order for it to be copyrighted.
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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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Painting, I think it’s like jazz.
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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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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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I want to rethink surrender as an active verb.
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People who are very confident in themselves aren’t hurt by criticism. They make use of it.
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I always use the same guitar; I got this guitar years and years ago for nine pounds. It’s still got the same strings on it.
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I’m not interested in possible complexities. I regard song structure as a graph paper.
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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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There are certain sounds that I’ve found work well in nearly any context. Their function is not so much musical as spatial: they define the edges of the territory of the music.
BRIAN ENO






