Brian Eno Quotes
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All music has political dimensions because it suggests a way of being.
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The computer brings out the worst in some people.
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My shows are not narratives.
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It's actually very easy for democracy to disappear.
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I always have wanted to know how the whole thing was done, what the process involved. And I don't particularly enjoy that my music is stripped of ancillary details, and it just sort of comes out of this big tap called the Internet like water. I like some of my water to be neatly presented in a bottle. With a label on it.
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Human development thus far has been fueled and guided by the feeling that things could be, and are probably going to be, better.
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What I would really like to do, if I could have a sort of kingship for a short time and organize the group of my dreams - I would make one group which would be a combination of, say, Parliament and Kraftwerk - put those two together and say, "Make a record." Something that would be an extraordinary combination: the weird physical feeling of Parliament with this strange, rigid stuff over the top of it.
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I love good, loud speakers.
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When we go out to the country and just sit there, what we're really doing is just switching off various kinds of alertness that we don't have to use. When we do that, we are stopping being defensive. We are no longer shutting ourselves off from different types of experiences, we are welcoming them in.
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Ambient music must be as ignorable as it is interesting.
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The Marshall guitar amplifier doesn't just get louder when you turn it up. It distorts the sound to produce a whole range of new harmonics, effectively turning a plucked string instrument into a bowed one.
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Ambient music is intended to induce calm and a space to think.
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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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In the future, you won't buy artists' works; you'll buy software that makes original pieces of 'their' works, or that recreates their way of looking at things. You could buy a Shostakovich box, or you could buy a Brahms box. You might want some Shostakovich slow-movement-like music to be generated. So then you use that box.
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You feel as if you're not living a full life. Which, of course, is why - it's my theory about why so many people who are heavily into computers are also into extreme sports and S&M. It's because their bodies are crying out for some kind of action.
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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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I set up situations that involve abandoning control and finding out what happens.
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The difficulty of always feeling that you ought to be doing something is that you tend to undervalue the times when you’re apparently doing nothing, and those are very important times.
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I do like Burial; he's so curiously clumsy, you can't help but be moved. It's so un-Hollywood, and the rhythms are so un-danceable.
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Think inside the work - outside the work.
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People always focus on people like me who use synthesizers, right, which are explicitly electronic and therefore obvious. "Ah, yes, that's electronic music." But they don't realize that so is the concept of actually taking a piece of extant music and literally re-collaging it, taking chunks out and changing the dynamics radically and creating new rhythmic structures with echo and all that. That's real electronic music, as far as I'm concerned.
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Often, I think you find that you're enjoying certain things, you've got this new way of listening, and you find that you really enjoy the way that sounds on it and the way this other thing sounds on it and the way that other thing sounds on it. So, you're finding a new pleasure that you didn't know about before.
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Whenever you listen to a piece of music, what you are actually doing is hearing the latest sentence in a very long story you’ve been listening to - all the pieces of music you’ve ever heard.
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I always use the same guitar; I got this guitar years and years ago for nine pounds. It's still got the same strings on it.