Brian Eno
Brian Eno
Brian Peter George St John le Baptiste de la Salle Eno, RDIis an English musician, composer, record producer, singer, writer, and visual artist. He is best known for his pioneering work in ambient and electronic music as well as his influential contributions to rock, worldbeat, chance, and generative music styles. A self-described "non-musician," Eno has advocated a methodology of "theory over practice" throughout his career, and has helped to introduce a variety of unique recording techniques and conceptual approaches into...
NationalityBritish
ProfessionMusic Producer
Date of Birth15 May 1948
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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've got a feeling that music might not be the most interesting place to be in the world of things.
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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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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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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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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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I think we're about ready for a new feeling to enter music. I think that will come from the Arabic world.
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It's insane that, since the Beatles and Dylan, it's assumed that all musicians should do everything themselves. It's that ridiculous, teenage idea that when Mick Jagger sings, he's telling you something about his own life. It's so arrogant to think that people would want to know about it anyway!
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When governments rely increasingly on sophisticated public relations agencies, public debate disappears and is replaced by competing propaganda campaigns, with all the accompanying deceits. Advertising isn't about truth or fairness or rationality, but about mobilising deeper and more primitive layers of the human mind.
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Although cover notes for classical music albums tend to say that the trill of flutes suggests mountain streams and so on, I don't think anybody listens to music with the expectation that they're going to be presented with a sort of landscape painting.
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Pop music can absorb so many peculiar talents, ranging from the completely nonmusical poseur who just uses music as a kind of springboard for a sense of style, to people who just love putting all that complicated stuff together, brick by brick, on their computers, to people like me who like playing conceptual games and being surprised.
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I wouldn't call myself a synaesthete in the sense that Nabokov was. But I'll talk about a sound as being cold blue or dark brown. For descriptive purposes, yes, I often see colors when I'm listening to music and think, 'Oh, there's not enough sort of yellowy stuff in here, or not enough white.'
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In the 1960s when the recording studio suddenly really took off as a tool, it was the kids from art school who knew how to use it, not the kids from music school. Music students were all stuck in the notion of music as performance, ephemeral. Whereas for art students, music as painting? They knew how to do that.
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Democracy is a daring concept - a hope that we'll be best governed if all of us participate in the act of government. It is meant to be a conversation, a place where the intelligence and local knowledge of the electorate sums together to arrive at actions that reflect the participation of the largest possible number of people.