Be the first to not do what nobody has ever thought of not doing before.
BRIAN ENOFor me it’s always contingent on getting a sound-the sound always suggests what kind of melody it should be. So it’s always sound first and then the line afterwards.
More Brian Eno Quotes
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The Marshall guitar amplifier doesn’t just get louder when you turn it up. It distorts the sound to produce a whole range of new harmonics, effectively turning a plucked string instrument into a bowed one.
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Try to make things that can become better in other people’s minds than they were in yours.
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The reason I don’t tour is that I don’t know how to front a band. What would I do? I can’t really play anything well enough to deal with that situation.
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I believe in singing.
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The seven white notes on the piano – each section of the piece (there are 12 sections) is five of those seven white notes.
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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.
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Being completely free to choose what to do is actually quite difficult
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I felt extremely uncomfortable as the focal point, in the spotlight. I really like the behind the scenes role, because all my freedom is there.
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When I was working with Talking Heads what would happen typically is that they would go out and start playing a track, and I would always run the tape.
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What happens with notation is that it reduces things to a language which isn’t necessarily appropriate to them. In the same way that words do, you get a much cruder version of what was actually intended.
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If you think of the way a composer or say a pop arranger works – he has an idea and he writes it down, so there’s one transmission loss. Then he gives the score to a group of musicians who interpret that, so there’s another transmission loss.
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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?
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Quite often, and in fact more often, I would say, I’m struggling all the way through to think, “What is it I like about this? What is the personality of this thing I’m hearing that I like so much?”
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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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The muscles are there simply to serve the head. But that isn’t how traditional players work at all; musicians know that their muscles have a lot of stuff going on as well. They’re using their whole body to make music, in fact.
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I often work by avoidance.
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I don’t want to do free jazz! Because free jazz – which is the musical equivalent of free marketeering – isn’t actually free at all. It’s just constrained by what your muscles can do.
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Most game music is based on loops effectively.
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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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People always focus on people like me who use synthesizers, right, which are explicitly electronic and therefore obvious.
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Well, there are some things that I just can’t get out of my head, and they start to annoy me after a while.
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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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American television really is pathetic.
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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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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?
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I’ve noticed a terrible thing, which is I will agree to anything if it’s far enough in the future.
BRIAN ENO