Brian Eno Quotes
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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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Most game music is based on loops effectively.
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We are increasingly likely to find ourselves in places with background music. No composers have thought to write for these modern spaces, which represent 30% of our musical experience.
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My guitar only has five strings 'cause the top one broke and I decided not to put it back on: when I play chords I only play bar chords, and the top one always used to cut me there.
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I suppose I am reluctant about being any sort of 'star' and I didn't particularly want to be portrayed as one.
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If you watch any good player, they're using different parts of their body and working with instruments that respond to those movements. They're moving in many dimensions at once.
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I don't live in the past at all; I'm always wanting to do something new. I make a point of constantly trying to forget and get things out of my mind.
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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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I'm often accused of being ahead of my time, but it's simply not true. The truth is that everybody else is behind.
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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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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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Gospel music is never pessimistic, it's never 'oh my god, its all going down the tubes', like the blues often is.
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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 great benefit of computer sequencers is that they remove the issue of skill, and replace it with the issue of judgement.
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Once I started working with generative music in the 1970s, I was flirting with ideas of making a kind of endless music - not like a record that you'd put on, which would play for a while and finish.
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One of the interesting things about having little musical knowledge is that you generate surprising results sometimes; you move to places you wouldn't if you knew better.
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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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All music has political dimensions because it suggests a way of being.
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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 enjoy working with complicated equipment. A lot of my things started just with a rhythm box, but I feed it through so many things that what comes out sounds very complex and rich.
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I never wanted to write the sort of song that said, 'Look at how abnormal and crazy and out there I am, man!'
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I hate the way CDs just drone on for bloody hours and you stop caring.
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The computer brings out the worst in some people.