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.
BRIAN ENOI hate talking about music, to tell you the truth.
More Brian Eno Quotes
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Be the first to not do what nobody has ever thought of not doing before.
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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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What happens with notation is that it reduces things to a language which isn’t necessarily appropriate to them. In the same way that words do, you get a much cruder version of what was actually intended.
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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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Being completely free to choose what to do is actually quite difficult
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When I’ve finally got the title, I think, “Okay, yes, now I know where we are. Now I know what it is. Fine, that must be finished or nearly finished.
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I’m fascinated by musicians who don’t completely understand their territory; that’s when you do your best work.
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Admirers can be a tremendous force for conservatism.
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Composition is a way of living out your philosophy and calling it art.
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Lyrics are always misleading because they make people think that that’s what the music is about.
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If something is good, you must torture it mercilessly until it is either dead or great.
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Given the chance, i’ll die like a baby, on some faraway beach, when the season’s over.
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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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The reason I don’t tour is that I don’t know how to front a band. What would I do? I can’t really play anything well enough to deal with that situation.
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The whole history of pop music had rested on the first person singular, with occasional intrusions of the second person singular.
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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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Feelings are more dangerous than ideas, because they aren’t susceptible to rational evaluation. They grow quietly, spreading underground, and erupt suddenly, all over the place.
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I had an interesting day. I was in the studio with a group of musicians, who shall remain nameless, and I said to them “Our exercise today is not to use ‘undo’ at all. So, there’s no second takes. Or, if you do a second take, you have to do the whole take.
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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 hate the rock music tradition. I can’t bear it!
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But now you see the results of that in people who are completely crippled unless they know that they have the possibility of “cut and paste” and “undo.” And “undo” and “undo” and “undo” and “undo” and “undo” again.
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When 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.
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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.
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Music in itself carries a whole set of messages which are very, very rich and complex, and the words either serve to exclude certain ones or point up certain others.
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The problem with computers is that there is not enough Africa in them.
BRIAN ENO