The vinyl commands a certain kind of reverence because it’s a big object and quite fragile so you handle it rather carefully, and it’s expensive so you pay attention to how it’s looked after.
BRIAN ENOThe Marshall guitar amplifier doesn’t just get louder when you turn it up. It distorts the sound to produce a whole range of new harmonics, effectively turning a plucked string instrument into a bowed one.
More Brian Eno Quotes
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Composition is a way of living out your philosophy and calling it art.
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Set up a situation that presents you with something slightly beyond your reach.
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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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Robert Fripp and I will be recording another LP very soon. It should be even more monotonous than the first one!
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I can see the use and value of religion, just as I can see the use of mud wrestling, yoga, astronomy and sadomasochism. but I reject the idea that you can’t be a deep human being without it or any of them.
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People in the arts often want to aim for the biggest, most obvious target, and hit it smack in the bull’s eye.
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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 believe that singing is the key to long life, a good figure, a stable temperament, increased intelligence, new friends, super self-confidence , heightened sexual attractiveness, and a better sense of humor.
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Saying that cultural objects have value is like saying that telephones have conversations.
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I want to rethink surrender as an active verb.
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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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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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You either believe that people respond to authority, or that they respond to kindness and inclusion. I’m obviously in the latter camp. I think that people respond better to reward than punishment.
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The most important thing in a piece of music is to seduce people to the point where they start searching.
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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.
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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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I don’t like celebrity programmes – but I do like programmes about how ideas are formed and evolve.
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I think the idea that people walk around to music is very interesting. They are actually creating the soundtrack to their lives as they walk around to it.
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I hate talking about music, to tell you the truth.
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Admirers can be a tremendous force for conservatism.
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If something is good, you must torture it mercilessly until it is either dead or great.
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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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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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Culture is everything you don’t have to do.
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Painting, I think it’s like jazz.
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Editing is now the easiest thing on earth to do, and all the things that evolved out of word processing – ‘Oh, let’s put that sentence there, let’s get rid of this’ – have become commonplace in films and music too.
BRIAN ENO