It’s nice, I think, when people use your music for things you didn’t think of.
BRIAN ENOWhen you look back on a historical period of music, it seems so obvious to you what the characteristics of it are, but they’re not obvious at the time. So, when I look back at my own work.
More Brian Eno Quotes
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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.
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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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Perhaps when music has been shouting for so long, a quieter voice seems attractive.
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I’m struck by the insidious, computer-driven tendency to take things out of the domain of muscular activity and put them into the domain of mental activity.
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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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The biology of purpose keeps my nose above the surface.
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I believe in singing.
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Because if someone does that, you can find your own position in relation to it: what is it that I don’t agree with? In the studio I want to articulate a position clearly enough so that other people can use it – or chuck it away if they don’t want it.
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When I was young, an eccentric uncle decided to teach me how to lie. Not, he explained, because he wanted me to lie, but because he thought I should know how it’s done so I would recognise when I was being lied to.
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My lyrics are generated by various peculiar processes. Very random and similar to automatic writing.
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Make an exhaustive list of everything you might do & do the last thing on the list.
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I belong to a gospel choir. They know I am an atheist but they are very tolerant.
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What I would really like to do, if I could have a sort of kingship for a short time and organize the group of my dreams.
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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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In fact, quite a lot of what I do has to do with sound texture, and, you can’t notate that. You can’t notate the sound of “St. Elmo’s Fire.” There’s no way of writing that down. That’s because musical notation arose at a time when sound textures were limited.
BRIAN ENO