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.
BRIAN ENOMost 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.
More Brian Eno Quotes
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I want to rethink surrender as an active verb.
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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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Not many people bought Velvet Underground LPs, but those who did, started a band.
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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.
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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 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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I wanted to get rid of the element that had been considered essential in pop music: the voice.
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Think inside the work – outside the work
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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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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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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 tools are evolving, and people’s interests are evolving as well. So, suddenly people like to hear bands, people like Devendra Banhart or the xx, bands that make a kind of virtue of sloppiness.
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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 got interested in the idea of music that could make itself, in a sense, in the mid 1960s really, when I first heard composers like Terry Riley, and when I first started playing with tape recorders.
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I’m not interested in possible complexities. I regard song structure as a graph paper.
BRIAN ENO