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For me it's always contingent on getting a sound-the sound always suggests what kind of melody it should be. So it's always sound first and then the line afterwards.

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
Line
Lines
Getting
Sound
Firsts
Contingent
First
Suggests
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Afterwards
Always
Melody

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Genius is individual, scenius is communal.
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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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A culture is the sum of all the things about which humanity can choose to differ.
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All the best lyrics are written in ten minutes.
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I've noticed a terrible thing, which is I will agree to anything if it's far enough in the future.
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Whatever you now find weird, ugly, uncomfortable and nasty about a new medium will surely become its signature... The excitement of grainy film, of bleached-out black and white, is the excitement of witnessing events too momentous for the medium assigned to record them.
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Attention is what creates value. Artworks are made as well by how people interact with them - and therefore by what quality of interaction they can inspire.
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Editing is now the easiest thing on earth to do, and all the things that evolved out of word processing - 'Oh, let's put that sentence there, let's get rid of this' - have become commonplace in films and music too.
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My interest in making music has been to create something that does not exist that I would like to listen to. I wanted to hear music that had not yet happened, by putting together things that suggested a new thing which did not yet exist.
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I had wanted a tape recorder since I was tiny. I thought it was a magic thing. I never got one until just before I went to art school.
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Nothing so dates an era as its conception of the future.
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The philosophical idea that there are no more distances, that we are all just one world, that we are all brothers, is such a drag! I like differences.
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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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When you make something you are always offering some choices and denying others.
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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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John Cage made you realise that there wasn't a thing called noise, it was just music you hadn't appreciated.
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I don't live in the past at all I'm always wanting to do something new. I make a point of constantly trying to forget and get things out of my mind.
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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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I take sounds and change them into words.
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