Brian Eno Quotes
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We're going through this super-uptight era, which I think comes entirely from literacy, actually. It's the result of machines that were designed as word processors being used for making music.
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If something is good, you must torture it mercilessly until it is either dead or great.
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Well, there are some things that I just can't get out of my head, and they start to annoy me after a while. Sometimes they're of my own creation, as well - and they're just as annoying. It's not only other people's ear worms that bug me, it's my own, as well.
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I want to make something that is breathtaking. Of course, you can't make something that is always breathtaking, or you would never be able to breathe. You would collapse.
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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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I think that's very significant that we're so attached to the idea now of - it was something I advocated for years, that you can make music in studios, music doesn't have to be made as a real-time experience. But now you see the results of that in people who are completely crippled unless they know that they have the possibility of "cut and paste" and "undo." And "undo" and "undo" and "undo" and "undo" and "undo" again.
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One of the things you do when you make a piece of art is you try to make the world you'd rather be in.
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Although designers continue to dream of 'transparency' - technologies that just do their job without making their presence felt - both creators and audiences actually like technologies with 'personality.'
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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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I think most artists would be happy to have bigger audiences rather than smaller ones. It doesn't mean that they are going to change their work in order necessarily to get it, but they're happy if they do get it.
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A part of me has become immortal, out of my control.
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Instruments sound interesting, not because of their sound, but because of the relationship a player has with them. Instrumentalists build a rapport with their instruments, which is what you like and respond to.
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For the world to be interesting, you have to be manipulating it all the time.
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Perhaps when music has been shouting for so long, a quieter voice seems attractive.
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I don't like celebrity programmes - but I do like programmes about how ideas are formed and evolve.
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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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Pop is totally results-oriented and there is a very strong feedback loop.
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Musicians are there in front of you, and the spectators sense their tension, which is not the case when you're listening to a record. Your attention is more relaxed. The emotional aspect is more important in live music.
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If you're in a forest, the quality of the echo is very strange because echoes back off so many surfaces of all those trees that you get this strange, itchy ricochet effect.
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I don't like headphones very much, and I rarely listen to music on headphones.
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American television really is pathetic.
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Every increase in your knowledge is a simultaneous decrease. You learn and you unlearn at the same time. A new certainty is a new doubt as well.
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With all fashion, what we do is play at being somebody else. We play at inhabiting another kind of world.
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I believe that singing is the key to long life, a good figure, a stable temperament, increased intelligence, new friends, super self-confidence, heightened sexual attractiveness, and a better sense of humor.