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.
BRIAN ENOThe tools are evolving, and people’s interests are evolving as well. So, suddenly people like to hear bands, people like Devendra Banhart or the xx, bands that make a kind of virtue of sloppiness.
More Brian Eno Quotes
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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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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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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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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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Of course, like anybody I repeat myself endlessly, but I don’t know that I’m doing it, usually.
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Something I’ve realized lately, to my shock, is that I am an optimist, in that I think humans are almost infinitely capable of self-change and self-modification, and that we really can build the future that we want if we’re smart about it.
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What matters in modern music is not the part you can write down, the words and the tune, but the rest – the texture, the atmosphere, the references and associations.
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I want to rethink surrender as an active verb.
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If I had a stock of fabulous sounds I would just always use them. I wouldn’t bother to find new ones.
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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.
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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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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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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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I think the other thing that’s important is getting to a place, which very, very rarely happens with improvising groups, where somebody can decide not to play for a while. You watch any group of musicians improvising together and they nearly all play nearly all the time.
BRIAN ENO