It infuriates me that stuff from the Internet routinely doesn’t include all the credits. Because as soon as I listen to something, if I like it, I want to know, “Who’s the bass player?” “Who did that?” “Who’s the engineer on this?
BRIAN ENOPeople do dismiss ambient music, don’t they? They call it ‘easy listening,’ as if to suggest that it should be hard to listen to.
More Brian Eno Quotes
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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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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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A responsible designer might try to overcome this limitation – probably the engineers at Marshall tried, too. But that sound became the sound of, among others, Jimi Hendrix. That sound is called electric guitar.
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Look closely at the most embarrassing details, and amplify them.
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The 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.
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The basis of computer work is predicated on the idea that only the brain makes decisions and only the index finger does the work.
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Well, there are some things that I just can’t get out of my head, and they start to annoy me after a while.
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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 most important thing is the thing most easily forgotten.
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The handbook always tells you what it does, and you can be quite sure that if it’s a complex device it can do at least fifteen other things that weren’t predicted in the handbook, or that they didn’t consider desirable. It’s normally those other things that interest me.
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Saying that cultural objects have value is like saying that telephones have conversations.
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When I was working with Talking Heads what would happen typically is that they would go out and start playing a track, and I would always run the tape.
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I’m not interested in possible complexities. I regard song structure as a graph paper.
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The biology of purpose keeps my nose above the surface.
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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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Let’s do something else.”And you always think “Oh my God I’ve never done anything at all like that before.” But, of course, in retrospect, and to an outsider, they’ll say, “Oh, yeah that’s typical Eno.
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Stop thinking about art works as objects, and start thinking about them as triggers for experiences.
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If you grow up in a very strong religion like Catholicism you certainly cultivate in yourself a certain taste for the intensity of ideas.
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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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Make an exhaustive list of everything you might do & do the last thing on the list.
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Quite often, and in fact more often, I would say, I’m struggling all the way through to think, “What is it I like about this? What is the personality of this thing I’m hearing that I like so much?”
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It’s amazing how quickly people get used to bad quality.
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I don’t live in the past at all; I’m always wanting to do something new. I make a point of constantly trying to forget and get things out of my mind.
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Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting.
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Once I started working with generative music in the 1970s, I was flirting with ideas of making a kind of endless music – not like a record that you’d put on, which would play for a while and finish.
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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.
BRIAN ENO