I think we’re about ready for a new feeling to enter music. I think that will come from the Arabic world.
BRIAN ENOWhat 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.
More Brian Eno Quotes
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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?
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Make an exhaustive list of everything you might do & do the last thing on the list.
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Put out as much as you can. It doesn’t do anything sitting on a shelf.
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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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I don’t want to do free jazz! Because free jazz – which is the musical equivalent of free marketeering – isn’t actually free at all. It’s just constrained by what your muscles can do.
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Emotion creates reality, reality demands action.
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So, that means you can only play either very high or very low or both. And we’re going to stay there until I take my finger down.
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The biology of purpose keeps my nose above the surface.
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I thought it was magic to be able to catch something identically on tape and then be able to play around with it, run it backwards; I thought that was great for years.
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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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The philosophical idea that there are no more distances, that we are all just one world, that we are all brothers, is such a drag! I like differences.
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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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We’re going through this super-uptight era, which I think comes entirely from literacy, actually. It’s the result of machines that were designed as word processors being used for making music.
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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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Culture is everything you don’t have to do.
BRIAN ENO