In terms of what has been happening recently, there have been, I think, some really interesting new instruments that have come out that sort of show me the direction of the future. Korg has introduced the – they’ve had a whole series now of these things called Kaoss Pads.
BRIAN ENOThe thing that obsesses me more than anything is waste – the waste of human intelligence and creativity.
More Brian Eno Quotes
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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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Saying that cultural objects have value is like saying that telephones have conversations.
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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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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 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.
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Look closely at the most embarrassing details, and amplify them.
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Music in itself carries a whole set of messages which are very, very rich and complex, and the words either serve to exclude certain ones or point up certain others.
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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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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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I wanted to use the studio like a microscope for sound, which is what good engineers do.
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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 hate the rock music tradition. I can’t bear it!
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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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As soon as you externalize an idea you see facets of it that weren’t clear when it was just floating around in your head.
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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 see TV as a picture medium rather than a narrative medium.
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I hate talking about music, to tell you the truth.
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Most of those melodies are me trying to find out what notes fit, and then hitting ones that don’t fit in a very interesting way.
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The great benefit of computer sequencers is that they remove the issue of skill, and replace it with the issue of judgement
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People do dismiss ambient music, don’t they? They call it ‘easy listening,’ as if to suggest that it should be hard to listen to.
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Make an exhaustive list of everything you might do & do the last thing on the list.
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I hate the thought that someone had picked up one of my song records and was really excited about it, and walks [out of] a record shop with On Land and is disappointed because it isn’t what they wanted.
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I despise computers in many ways. I think they’re hopelessly underevolved and overrated.
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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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I prefer to shoot the arrow, then paint the target around it. You make the niches in which you finally reside.
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In my normal life I’m a very unadventurous person.
BRIAN ENO