Brian Eno Quotes
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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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'Two Voices,' from my album with Peter Schwalm, is an intact dream-poem. I awoke one night with an image of a piece of paper and all the words of the poem written on it, so I just blundered down to the kitchen table and 'copied it out.'
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I think I've committed the one really bad English crime, which is I've risen above my station. I was supposed to be a pop star, and suddenly I'm claiming that I'm an artist of some kind.
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Think inside the work - outside the work.
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All cultures have these feelings about non-functional areas of activity. And the more time people have on their hands, the more they commit it to those areas.
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I got an amazing 10-CD set, it's the music that Alan Lomax recorded in Haiti in 1936. And what's incredible is how fantastic the drummers are and how off-the-grid they are. The liveliness is astonishing; they're just totally alive, these recordings. It's very interesting, to me, to be reminded of that, that there was a time when things were not that tight.
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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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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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Some people say Bowie is all surface style and second-hand ideas, but that sounds like a definition of pop to me.
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When I was working with Talking Heads what would happen typically is that they would go out and start playing a track, and I would always run the tape. I always record everything, even a run through where you're trying to get in tune. That's a principle because sometimes when the situation isn't clear interesting things happen, and they are worth listening to again.
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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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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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In fact, quite a lot of what I do has to do with sound texture, and, you can't notate that. You can't notate the sound of "St. Elmo's Fire." There's no way of writing that down. That's because musical notation arose at a time when sound textures were limited. If you said violins and woodwind that defined the sound texture; if I say synthesizer and guitar it means nothing - you're talking about 28,000 variables.
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Emotion creates reality, reality demands action.
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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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What people call unemotional just doesnt have a single overriding emotion to it. The things that I like best are the ones that ambiguous on the emotional level.
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I still do mostly listen to CDs. I think that every format really is a different way of listening. If you take a different sort of psychological stance to it - like, I think the transition from vinyl to CD definitely marked a difference in the way people treated music. The vinyl commands a certain kind of reverence because it's a big object and quite fragile so you handle it rather carefully, and it's expensive so you pay attention to how it's looked after.
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I wanted to get rid of the element that had been considered essential in pop music: the voice.
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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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Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable sic as it is interesting.
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In terms of what has been happening recently, there have been, I think, some really interesting new instruments that have come out that sort of show me the direction of the future. Korg has introduced the - they've had a whole series now of these things called Kaoss Pads. They're wonderful because they do get your muscles working again. And what DJs do, of course, with their DJ turntables now, the CD turntables, which have pitch change and speed change and everything else. They're doing something that I think is interestingly physical.
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All the best lyrics are written in ten minutes.
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I take sounds and change them into words.
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The point about working is not to produce great stuff all the time, but to remain ready for when you can.