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.
BRIAN ENOI 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.
More Brian Eno Quotes
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Every increase in your knowledge is a simultaneous decrease. You learn and you unlearn at the same time. A new certainty is a new doubt as well.
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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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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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Anything popular is populist, and populist is rarely a good adjective.
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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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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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American television really is pathetic.
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My lyrics are generated by various peculiar processes. Very random and similar to automatic writing.
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I love San Francisco and Brighton has something of San Francisco about it. It’s by the sea, there’s a big gay community, a feeling of people being there because they enjoy their life there.
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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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The texture suggests some kind of mood, and the mood suggests some kind of lyric. That’s like working in reverse, often quite the other way around, from sound to song. Although often they stop before they get to the song stage.
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With all fashion, what we do is play at being somebody else. We play at inhabiting another kind of world.
BRIAN ENO -
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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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.
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I’ve noticed a terrible thing, which is I will agree to anything if it’s far enough in the future.
BRIAN ENO