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.
BRIAN ENOIn 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.
More Brian Eno Quotes
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Anything popular is populist, and populist is rarely a good adjective.
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For instance, I’m always fascinated to see whether, given the kind of fairly known and established form called popular music, whether there is some magic combination that nobody has hit upon before.
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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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Perhaps when music has been shouting for so long, a quieter voice seems attractive.
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Put out as much as you can. It doesn’t do anything sitting on a shelf.
BRIAN ENO -
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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Look closely at the most embarrassing details, and amplify them.
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Emotion creates reality, reality demands action.
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I had an interesting day. I was in the studio with a group of musicians, who shall remain nameless, and I said to them “Our exercise today is not to use ‘undo’ at all. So, there’s no second takes. Or, if you do a second take, you have to do the whole take.
BRIAN ENO -
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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Sometimes you recognize that there is a category of human experience that has not been identified but everyone knows about it. That is when I find a term to describe it.
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It’s amazing how quickly people get used to bad quality.
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Law is always better than war.
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There are certain sounds that I’ve found work well in nearly any context. Their function is not so much musical as spatial: they define the edges of the territory of the music.
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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?
BRIAN ENO