In the 1960s, people were trying to get away from the pop song format. Tracks were getting longer, or much, much shorter.
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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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?
BRIAN ENO -
If something is good, you must torture it mercilessly until it is either dead or great.
BRIAN ENO -
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.
BRIAN ENO -
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.
BRIAN ENO -
In my normal life I’m a very unadventurous person.
BRIAN ENO -
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.
BRIAN ENO -
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.
BRIAN ENO -
I love San Francisco and Brighton has something of San Francisco about it. It’s by the sea, there’s a big gay community, a feeling of people being there because they enjoy their life there.
BRIAN ENO -
What I would really like to do, if I could have a sort of kingship for a short time and organize the group of my dreams.
BRIAN ENO -
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.
BRIAN ENO -
It’s amazing how quickly people get used to bad quality.
BRIAN ENO -
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.
BRIAN ENO -
The whole history of pop music had rested on the first person singular, with occasional intrusions of the second person singular.
BRIAN ENO -
Saying that cultural objects have value is like saying that telephones have conversations.
BRIAN ENO -
I think the other thing that’s important is getting to a place, which very, very rarely happens with improvising groups, where somebody can decide not to play for a while. You watch any group of musicians improvising together and they nearly all play nearly all the time.
BRIAN ENO