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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.

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
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Still
Years
Always
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You either believe that people respond to authority, or that they respond to kindness and inclusion. I'm obviously in the latter camp. I think that people respond better to reward than punishment.
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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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In the 19th century, a lot of people were against outlawing child labour, because to do so would be against the very foundations of a free market economy: 'These children want to work, these people want to employ them... what is your problem? It's not as if anyone has kidnapped them...'
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When you make something you are always offering some choices and denying others.
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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.
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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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I belong to a gospel choir. They know I am an atheist but they are very tolerant.
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I'm kind of an evangelical atheist.
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All music has political dimensions because it suggests a way of being.
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You can hear the profile of a sound, in retrospect, so much more clearly than you did at the time. And I think one of the things that's going to be nauseatingly characteristic about so much music of now is its glossy production values and its griddedness, the tightness of the way everything is locked together.
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Admirers can be a tremendous force for conservatism.
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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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Human development thus far has been fueled and guided by the feeling that things could be, and are probably going to be, better.
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The micro-compositions are the pieces themselves, but the macro-composition is the whole set of them and how it moves from track to track and how the titles relate to one another, for example. Always when I do records like this of a selection of instrumental pieces - the titles, to me, are very important.
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Of all the things you can now do, which do you choose to do?
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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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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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Don't be ashamed of your own ideas. Most musicians get applauded for sounding like someone else.
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Everybody thinks that when new technologies come along that they're transparent and you can just do your job well on it. But technologies always import a whole new set of values with them.
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Well, I am a dilettante. It's only in England that dilettantism is considered a bad thing. In other countries it's called interdisciplinary research.
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