I don’t like celebrity programmes – but I do like programmes about how ideas are formed and evolve.
BRIAN ENOWhen 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.
More Brian Eno Quotes
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Stop thinking about art works as objects, and start thinking about them as triggers for experiences.
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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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The time I like listening to music most on headphones is, I have a game I play with my brother, he’s a musician as well.And he sends me MIDI files of keyboard pieces. So, these are pieces where I just get a MIDI file.
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In terms of what has been happening recently, there have been, I think, some really interesting new instruments that have come out that sort of show me the direction of the future. Korg has introduced the – they’ve had a whole series now of these things called Kaoss Pads.
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So, I try to make signs, graphically and visually, to say to people “Okay, this is this department of my work and this is this other department of my work.” And of course I’m very pleased if people like all of them, but I don’t want them to feel deceived at any point.
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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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The whole history of pop music had rested on the first person singular, with occasional intrusions of the second person singular.
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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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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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People who are very confident in themselves aren’t hurt by criticism. They make use of it.
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When people censor themselves they’re just as likely to get rid of the good bits as the bad bits.
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The most important thing is the thing most easily forgotten.
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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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I’ve noticed a terrible thing, which is I will agree to anything if it’s far enough in the future.
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There are certain sounds that I’ve found work well in nearly any context. Their function is not so much musical as spatial: they define the edges of the territory of the music.
BRIAN ENO