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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.
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
Much
Format
People
Pops
Track
Longer
Getting
Song
Away
Shorter
Trying
Tracks
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A studio is an absolute labyrinth of possibilities - this is why records take so long to make because there are millions of permutations of things you can do. The most useful thing you can do is to get rid of some of those options before you start
Brian Eno
If I had a stock of fabulous sounds I would just always use them. I wouldn't bother to find new ones.
Brian Eno
I think, if you spend a day or - as many people do - a life working only with that aspect of your being, the cerebrum connected to a finger, I feel that the rest of you atrophies, essentially.
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I hate the rock music tradition. I can't bear 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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I believe that singing is the key to long life, a good figure, a stable temperament, increased intelligence, new friends, super self-confidence , heightened sexual attractiveness, and a better sense of humor.
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Songs that don't depend on composition depend instead on performance - so the fire has to be there in the playing.
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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 think one of my pursuits over the years is trying to answer the question of 'what else can you do with a voice other than stand in front of a microphone and sing?'
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The computer brings out the worst in some people.
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Even though I'm known as a pop musician, I have a seriousness about what I do.
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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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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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In my normal life I'm a very unadventurous person.
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