I wanted to use the studio like a microscope for sound, which is what good engineers do.
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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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.
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The artists of the past who impressed me were the ones who really focused their work.
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I hate talking about music, to tell you the truth.
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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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One often makes music to supplement one’s world.
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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 occasionally meet people and they say, ‘Oh, I was born to Discreet Music’… They always have very weird eyes, those people.
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I often work by avoidance.
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I do sometimes look back at things I’ve written in the past, and think, ‘I just don’t remember being the person who wrote that.’
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Law is always better than war.
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It’s amazing how quickly people get used to bad quality.
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If you think of the way a composer or say a pop arranger works – he has an idea and he writes it down, so there’s one transmission loss. Then he gives the score to a group of musicians who interpret that, so there’s another transmission loss.
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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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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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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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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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I had a lot of trouble with engineers, because their whole background is learning from a functional point of view, and then learning how to perform that function.
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So, I try to make signs, graphically and visually, to say to people “Okay, this is this department of my work and this is this other department of my work.” And of course I’m very pleased if people like all of them, but I don’t want them to feel deceived at any point.
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In my normal life I’m a very unadventurous person.
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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 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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I’m fascinated by musicians who don’t completely understand their territory; that’s when you do your best work.
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My lyrics are generated by various peculiar processes. Very random and similar to automatic writing.
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Painting, I think it’s like jazz.
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I think that there’s something that I still like about the fact of a package, like the latest report from somebody. “Okay, this is what they’re up to now; this is what they’re doing; who’s working with them?
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The seven white notes on the piano – each section of the piece (there are 12 sections) is five of those seven white notes.
BRIAN ENO