I’m fascinated by musicians who don’t completely understand their territory; that’s when you do your best work.
BRIAN ENOEditing 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.
More Brian Eno Quotes
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In England and Europe, we have this huge music called ambient – ambient techno, ambient house, ambient hip-hop, ambient this, ambient that.
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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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Set up a situation that presents you with something slightly beyond your reach.
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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 we’re about ready for a new feeling to enter music. I think that will come from the Arabic world.
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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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I think very often producers are really trying to repeat things. When they hear something in the new songs that they recognize as being a bit like something that was a success on a previous record, they’re inclined to encourage that.
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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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Most game music is based on loops effectively.
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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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I always use the same guitar; I got this guitar years and years ago for nine pounds. It’s still got the same strings on it.
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We have two different ways of working. One is completely unstructured where somebody just starts playing and somebody joins in and then the other person joins in, and something starts to happen. That’s occasionally what happens.
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Cultural objects have no notable identity outside of that which we confer upon them. Their value is entirely a product of the interaction that we have with them.
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I believe it builds character and, more than anything else, encourages a taste for co-operation with others. This seems to be about the most important thing a school could do for you.
BRIAN ENO