The whole history of pop music had rested on the first person singular, with occasional intrusions of the second person singular.
BRIAN ENOWhen 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.
More Brian Eno Quotes
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If something is good, you must torture it mercilessly until it is either dead or great.
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One of the interesting things about having little musical knowledge is that you generate surprising results sometimes; you move to places you wouldn’t if you knew better.
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I thought it was magic to be able to catch something identically on tape and then be able to play around with it, run it backwards; I thought that was great for years.
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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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I do sometimes look back at things I’ve written in the past, and think, ‘I just don’t remember being the person who wrote that.’
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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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Some people are very good at being ‘stars’ and it suits them. I’m grudging about it and I find it annoying.
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Most game music is based on loops effectively.
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You either believe that people respond to authority, or that they respond to kindness and inclusion. I’m obviously in the latter camp. I think that people respond better to reward than punishment.
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One of the things you’re doing when you make art, apart from entertaining yourself and other people, is trying to see what ways of working feel good, what feels right.
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If I had a stock of fabulous sounds I would just always use them. I wouldn’t bother to find new ones.
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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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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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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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In the 1960s, people were trying to get away from the pop song format. Tracks were getting longer, or much, much shorter.
BRIAN ENO






