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I enjoy working with complicated equipment. A lot of my things started just with a rhythm box, but I feed it through so many things that what comes out sounds very complex and rich.

Brian Eno

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Brian Eno
Age: 76
Born: 1948
Born: May 15
Composer
Musician
Painter
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Songwriter
Writer
Borough of Melton
Eno
Brian Peter George Eno
Brian Peter George St John le Baptiste de la Salle Eno
Many
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Rich
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Rhythm

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It's amazing how quickly people get used to bad quality.
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I'm always interested in something when it isn't familiar to me.
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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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It's nice, I think, when people use your music for things you didn't think of.
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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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Not many people bought Velvet Underground LPs, but those who did, started a band.
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When I've finally got the title, I think, Okay, yes, now I know where we are. Now I know what it is. Fine, that must be finished or nearly finished.
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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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Everything is an experiment until it has a deadline. That gives it a destination, context, and a reason.
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The tools are evolving, and people's interests are evolving as well. So, suddenly people like to hear bands, people like Devendra Banhart or the xx, bands that make a kind of virtue of sloppiness. That isn't what they would describe what they're doing, but the fact is they make a virtue of the sort of hand-made nature of what they're doing.
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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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You can't really imagine music without technology.
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If you want to make someone feel emotion, you have to make them let go. Listening to something is an act of surrender.
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The problem with improvisation is, of course, that everyone just slips into their comfort zone and does sort of the easy thing to do, the most obvious thing to do with your instrument.
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I've got nothing against records - I've spent my life making them - but they are a kind of historical blip.
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The point about melody and beat and lyric is that they exist to engage you in a very particular way. They want to occupy your attention.
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At the party, Rob Partridge said to me, You gave hope to other balding men. My new epitaph: Co-wrote a couple of decent songs and went bald shamelessly.
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I see TV as a picture medium rather than a narrative medium.
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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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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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