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I love the sort of ambivalence of this, the ambiguity of something - being, for instance, in a quite busy Mexican restaurant with one of these very gentle tracks playing I remember as being particularly nice.

Brian Eno

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Brian Eno
Age: 76
Born: 1948
Born: May 15
Composer
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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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If I had a stock of fabulous sounds I would just always use them. I wouldn't bother to find new ones.
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I occasionally meet people and they say, 'Oh, I was born to Discreet Music'... They always have very weird eyes, those people.
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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 hate talking about music, to tell you the truth.
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For the world to be interesting, you have to be manipulating it all the time.
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As soon as I hear a sound, it always suggests a mood to me.
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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 dominant theory coming out of Hollywood is that peoples' attention spans are getting shorter and shorter and they need more stimulation.
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Also something that you don't have to listen to from beginning to end - you can enter at any point and leave at any point.
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Sometimes you recognize that there is a category of human experience that has not been identified but everyone knows about it. That is when I find a term to describe it.
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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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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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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 problem with computers is that there is not enough Africa in them.
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Honor thy error as a hidden intention.
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If you had a sign above every studio door saying ‘This Studio is a Musical Instrument’ it would make such a different approach to recording.
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Except in a few cases like Music for Airports, which was a very clear case of noticing a niche [and] saying, Okay, there's this situation in which people always play music, and nobody has written music for that situation so I'm going to. So, that was a very clear example of spotting a niche and working for it. I have done that occasionally.
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In England and Europe, we have this huge music called ambient - ambient techno, ambient house, ambient hip-hop, ambient this, ambient that.
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You can't really imagine music without technology.
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Avant-garde music is sort of research music. You're glad someone's done it but you don't necessarily want to listen to it.
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