You don’t have to act as if you know what you’re doing
BRIAN ENOMusic 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.
More Brian Eno Quotes
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Editing is now the easiest thing on earth to do, and all the things that evolved out of word processing – ‘Oh, let’s put that sentence there, let’s get rid of this’ – have become commonplace in films and music too.
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I belong to a gospel choir. They know I am an atheist but they are very tolerant.
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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.
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When I was young, an eccentric uncle decided to teach me how to lie. Not, he explained, because he wanted me to lie, but because he thought I should know how it’s done so I would recognise when I was being lied to.
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As struggles go, being an artist isn’t that much of one.
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Emotion creates reality, reality demands action.
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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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Culture is everything you don’t have to do.
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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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I don’t live in the past at all; I’m always wanting to do something new. I make a point of constantly trying to forget and get things out of my mind.
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Let’s do something else.”And you always think “Oh my God I’ve never done anything at all like that before.” But, of course, in retrospect, and to an outsider, they’ll say, “Oh, yeah that’s typical Eno.
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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.
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Every collaboration helps you grow.
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With all fashion, what we do is play at being somebody else. We play at inhabiting another kind of world.
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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.
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Perhaps when music has been shouting for so long, a quieter voice seems attractive.
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Lyrics are always misleading because they make people think that that’s what the music is about.
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I love the sort of ambivalence of this, the ambiguity of something – being, for instance, in a quite busy Mexican restaurant with one of these very gentle tracks playing I remember as being particularly nice.
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Lyrics are the only thing to do with music that haven’t been made easier technically.
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It’s nice, I think, when people use your music for things you didn’t think of.
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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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I want to rethink surrender as an active verb.
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I’m not interested in possible complexities. I regard song structure as a graph paper.
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The most important thing in a piece of music is to seduce people to the point where they start searching.
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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 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.
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