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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.

Brian Eno

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Brian Eno
Age: 76
Born: 1948
Born: May 15
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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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The idea that something is uncool because it’s old or foreign has left the collective consciousness.
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I know that if I had a television in my flat I would convince myself that everything on it was really interesting. I would say, 'I'm a Celebrity - Get Me Out of Here!' is so sociologically fascinating that I think I'd better watch.
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As soon as I hear a sound, it always suggests a mood to me.
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Don't be ashamed of your own ideas. Most musicians get applauded for sounding like someone else.
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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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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'm not interested in possible complexities. I regard song structure as a graph paper.
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Feelings are more dangerous than ideas, because they aren't susceptible to rational evaluation. They grow quietly, spreading underground, and erupt suddenly, all over the place.
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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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Something I’ve realized lately, to my shock, is that I am an optimist, in that I think humans are almost infinitely capable of self-change and self-modification, and that we really can build the future that we want if we’re smart about it.
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Painting, I think it's like jazz.
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Most of those melodies are me trying to find out what notes fit, and then hitting ones that don't fit in a very interesting way.
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I'm bloody awful at multi-tasking.
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Nothing so dates an era as its conception of the future.
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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.
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The artists of the past who impressed me were the ones who really focused their work.
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Not many people bought Velvet Underground LPs, but those who did, started a band.
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Whenever there's a new music, there's a new way of listening. And whenever there's a new way of listening, there are new musics that follow from that. And people start listening differently - that can either mean in different places or at different volumes or in different social groups or through different technologies.
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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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