People always focus on people like me who use synthesizers, right, which are explicitly electronic and therefore obvious.
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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Perhaps when music has been shouting for so long, a quieter voice seems attractive.
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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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Sometimes you recognize that there is a category of human experience that has not been identified but everyone knows about it. That is when I find a term to describe it.
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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.
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When you look back on a historical period of music, it seems so obvious to you what the characteristics of it are, but they’re not obvious at the time. So, when I look back at my own work.
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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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Stop thinking about art works as objects, and start thinking about them as triggers for experiences.
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We’re going through this super-uptight era, which I think comes entirely from literacy, actually. It’s the result of machines that were designed as word processors being used for making music.
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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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It’s amazing how quickly people get used to bad quality.
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I had a lot of trouble with engineers, because their whole background is learning from a functional point of view, and then learning how to perform that function.
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Something I’ve realized lately, to my shock, is that I am an optimist, in that I think humans are almost infinitely capable of self-change and self-modification, and that we really can build the future that we want if we’re smart about it.
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The artists of the past who impressed me were the ones who really focused their work.
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If something is good, you must torture it mercilessly until it is either dead or great.
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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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Put out as much as you can. It doesn’t do anything sitting on a shelf.
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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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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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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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Culture is everything you don’t have to do.
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Be the first to not do what nobody has ever thought of not doing before.
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Law is always better than war.
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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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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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The texture suggests some kind of mood, and the mood suggests some kind of lyric. That’s like working in reverse, often quite the other way around, from sound to song. Although often they stop before they get to the song stage.
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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.
BRIAN ENO