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Even though I'm known as a pop musician, I have a seriousness about what I do.

Brian Eno

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Brian Eno
Age: 76
Born: 1948
Born: May 15
Composer
Musician
Painter
Photographer
Record Producer
Singer
Songwriter
Writer
Borough of Melton
Eno
Brian Peter George Eno
Brian Peter George St John le Baptiste de la Salle Eno
Seriousness
Pops
Musician
Though
Known
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I prefer to shoot the arrow, then paint the target around it. You make the niches in which you finally reside.
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The first Velvet Underground album only sold 10,000 copies, but everyone who bought it formed a band
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Everything is an experiment until it has a deadline. That gives it a destination, context, and a reason.
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Some people say Bowie is all surface style and second-hand ideas, but that sounds like a definition of pop to me.
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I often work by avoidance.
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I'm always interested in what you can do with technology that people haven't thought of doing yet.
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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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All music has political dimensions because it suggests a way of being.
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What happens with notation is that it reduces things to a language which isn't necessarily appropriate to them. In the same way that words do, you get a much cruder version of what was actually intended.
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One of the things you're doing when you make art, apart from entertaining yourself and other people, is trying to see what ways of working feel good, what feels right.
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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. Sometimes they're of my own creation, as well - and they're just as annoying. It's not only other people's ear worms that bug me, it's my own, as well.
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Every collaboration helps you grow. With Bowie, it's different every time. I know how to create settings, unusual aural environments. That inspires him. He's very quick.
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I often say to people that producing is the best paid form of cowardice. When you produce things you almost always get credit, if it's a good record, but you hardly ever get the blame if it's not! You don't really take responsibility for your work.
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For the world to be interesting, you have to be manipulating it all the time.
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If I had a stock of fabulous sounds I would just always use them. I wouldn't bother to find new ones.
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It's amazing how quickly people get used to bad quality.
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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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Except in a few cases like Music for Airports, which was a very clear case of noticing a niche [and] saying, Okay, there's this situation in which people always play music, and nobody has written music for that situation so I'm going to. So, that was a very clear example of spotting a niche and working for it. I have done that occasionally.
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I want to make things that put me in the position of innocence, that recreate the feeling of innocence in you.
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I'm not interested in possible complexities. I regard song structure as a graph paper.
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