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?”
BRIAN ENOFeelings are more dangerous than ideas, because they aren’t susceptible to rational evaluation. They grow quietly, spreading underground, and erupt suddenly, all over the place.
More Brian Eno Quotes
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Every increase in your knowledge is a simultaneous decrease. You learn and you unlearn at the same time. A new certainty is a new doubt as well.
BRIAN ENO -
A big ego isn’t necessarily a bad thing. A big ego means that you have some confidence in your abilities, really, and that you’re prepared to take the risk of trying them out.
BRIAN ENO -
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.
BRIAN ENO -
Well, there are some things that I just can’t get out of my head, and they start to annoy me after a while.
BRIAN ENO -
There’s a kind of edge to what you’re doing, the kind of leading edge of what you’re doing. Inside that edge [are elements you] are familiar with, and are probably becoming slightly bored with, as well, over a period of time. “I’ve pulled that one out before. Oh, no, I can’t I’m just fed up with that.
BRIAN ENO -
I think we’re about ready for a new feeling to enter music. I think that will come from the Arabic world.
BRIAN ENO -
The thing that obsesses me more than anything is waste – the waste of human intelligence and creativity.
BRIAN ENO -
Most game music is based on loops effectively.
BRIAN ENO -
I’ve always thought that art is a lie, an interesting lie. And I’ll sort of listen to the “lie” and try to imagine the world which makes that lie true…what that world must be like, and what would have to happen for us to get from this world to that one.
BRIAN ENO -
It’s nice, I think, when people use your music for things you didn’t think of.
BRIAN ENO -
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.
BRIAN ENO -
I always use the same guitar; I got this guitar years and years ago for nine pounds. It’s still got the same strings on it.
BRIAN ENO -
I occasionally meet people and they say, ‘Oh, I was born to Discreet Music’… They always have very weird eyes, those people.
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 -
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.
BRIAN ENO