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It infuriates me that stuff from the Internet routinely doesn't include all the credits. Because as soon as I listen to something, if I like it, I want to know, Who's the bass player? Who did that? Who's the engineer on this?
Brian Eno
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Brian Eno
Age: 76
Born: 1948
Born: May 15
Composer
Musician
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Borough of Melton
Eno
Brian Peter George Eno
Brian Peter George St John le Baptiste de la Salle Eno
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More quotes by Brian Eno
I belong to a gospel choir. They know I am an atheist but they are very tolerant.
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Rationality is what we do to organize the world, to make it possible to predict. Art is the rehearsal for the inapplicability and failure of that process.
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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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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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I describe things in terms of body movements. I dance a bit to describe what sort of movement it ought to make, and that's a good way of talking to musicians. Particularly bass players.
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I'm very good with technology, I always have been, and with machines in general. They seem not threatening like other people find them, but a source of fun and amusement.
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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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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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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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The first Velvet Underground album only sold 10,000 copies, but everyone who bought it formed a band
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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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I hate the rock music tradition. I can't bear it!
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One often makes music to supplement one's world.
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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 do sometimes look back at things I've written in the past, and think, 'I just don't remember being the person who wrote that.'
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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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A lot of the so-called systems composers have this thing that the system is always right. You don't fiddle with it at all. Well, I don't think that. I think the system is as right as you judge it to be. If for some reason you don't like a bit of it you must trust your intuition on that. I don't take a doctrinaire approach to systems.
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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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American television really is pathetic.
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Most game music is based on loops effectively.
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