I wanted quite the opposite of that. I wanted them to accent their styles, so that they pulled away.
BRIAN ENOThe artists of the past who impressed me were the ones who really focused their work.
More Brian Eno Quotes
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The great benefit of computer sequencers is that they remove the issue of skill, and replace it with the issue of judgement
BRIAN ENO -
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.
BRIAN ENO -
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.
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 -
I see TV as a picture medium rather than a narrative medium.
BRIAN ENO -
Of course with everybody else aiming there as well that makes it very hard and expensive to hit. I prefer to shoot the arrow, then paint the target around it. You make the niches in which you finally reside.
BRIAN ENO -
Robert Fripp and I will be recording another LP very soon. It should be even more monotonous than the first one!
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 -
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.
BRIAN ENO -
I can see the use and value of religion, just as I can see the use of mud wrestling, yoga, astronomy and sadomasochism. but I reject the idea that you can’t be a deep human being without it or any of them.
BRIAN ENO -
People do dismiss ambient music, don’t they? They call it ‘easy listening,’ as if to suggest that it should be hard to listen to.
BRIAN ENO -
I often work by avoidance.
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 -
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 ENO -
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.
BRIAN ENO







