The most important thing in a piece of music is to seduce people to the point where they start searching.
BRIAN ENOOne 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.
More Brian Eno Quotes
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I’m very good with technology, I always have been, and with machines in general. They seem not threatening like other people find them, but a source of fun and amusement.
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I think we’re about ready for a new feeling to enter music. I think that will come from the Arabic world.
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In terms of what has been happening recently, there have been, I think, some really interesting new instruments that have come out that sort of show me the direction of the future. Korg has introduced the – they’ve had a whole series now of these things called Kaoss Pads.
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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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My lyrics are generated by various peculiar processes. Very random and similar to automatic writing.
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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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Painting, I think it’s like jazz.
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Lyrics are the only thing to do with music that haven’t been made easier technically.
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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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One often makes music to supplement one’s world.
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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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People who are very confident in themselves aren’t hurt by criticism. They make use of it.
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Once you’ve grown to accept something and it becomes part of the system you’ve inherited, you don’t even notice it any longer.
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Of course with everybody else aiming there as well that makes it very hard and expensive to hit. 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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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.
BRIAN ENO