When you look back on a historical period of music, it seems so obvious to you what the characteristics of it are, but they’re not obvious at the time. So, when I look back at my own work.
BRIAN ENOI’m fascinated by musicians who don’t completely understand their territory; that’s when you do your best work.
More Brian Eno Quotes
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Rationality is what we do to organize the world, to make it possible to predict. Art is the rehearsal for the inapplicability and failure of that process.
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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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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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You know that in order to copyright material somebody has to write it down for you. Any piece of recorded material has to be scored in order for it to be copyrighted.
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People in the arts often want to aim for the biggest, most obvious target, and hit it smack in the bull’s eye.
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Every collaboration helps you grow.
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In my normal life I’m a very unadventurous person.
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The biology of purpose keeps my nose above the surface.
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Everything good proceeds from enthusiasm.
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The vinyl commands a certain kind of reverence because it’s a big object and quite fragile so you handle it rather carefully, and it’s expensive so you pay attention to how it’s looked after.
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Ambient music is intended to induce calm and a space to think.
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It’s amazing how quickly people get used to bad quality.
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The texture suggests some kind of mood, and the mood suggests some kind of lyric. That’s like working in reverse, often quite the other way around, from sound to song. Although often they stop before they get to the song stage.
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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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When I work there are two distinct phases: the phase of pushing the work along, getting something to happen, where all the input comes from me, and phase two, where things start to combine in a way that wasn’t expected or predicted by what I supplied.
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When I went back to England after a year away, the country seemed stuck, dozing in a fairy tale, stifled by the weight of tradition.
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Most game music is based on loops effectively.
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I’m not interested in possible complexities. I regard song structure as a graph paper.
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My guitar only has five strings ’cause the top one broke and I decided not to put it back on: when I play chords I only play bar chords, and the top one always used to cut me 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 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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I want to rethink surrender as an active verb.
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I suppose I am reluctant about being any sort of ‘star’ and I didn’t particularly want to be portrayed as one.
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Admirers can be a tremendous force for conservatism.
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I belong to a gospel choir. They know I am an atheist but they are very tolerant.
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Once you’ve grown to accept something and it becomes part of the system you’ve inherited, you don’t even notice it any longer.
BRIAN ENO