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
player hands important
Basically, you're still sitting there using just the muscles of your hand, really. Of one hand, actually. It's another example of the transfer of literacy to making music because the assumption is that everything important is happening in your head; the muscles are there simply to serve the head. But that isn't how traditional players work at all; musicians know that their muscles have a lot of stuff going on as well. They're using their whole body to make music, in fact.
moving player different
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.
dance player talking
I describe things in terms of body movements. I dance a bit to describe what sort of movement it ought to make, and that's a good way of talking to musicians. Particularly bass players.
player credit bass
It infuriates me that stuff from the Internet routinely doesn't include all the credits. Because as soon as I listen to something, if I like it, I want to know, "Who's the bass player?" "Who did that?" "Who's the engineer on this?"
player rapport relationship
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.
art
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.
people
Most people have no idea what something would sound like if it wasn't an MP3.
afford art cases fine life music people problem special
The problem with fine art is that in most cases people have to make a special excursion to go and look at it: they can't afford to own it. So it isn't really part of their life in the way that music can be.
actions attention changing confine create dedicated detail easily extremely fact intuitive leaving mind options respond rest software texture tools work
Software options proliferate extremely easily - too easily, in fact - because too many options create tools that can't ever be used intuitively. Intuitive actions confine the detail work to a dedicated part of the brain, leaving the rest of one's mind free to respond with attention and sensitivity to the changing texture of the moment.
asked becomes believe british builds central cooperation encourages extent group redesign singing taste
I believe in singing to such an extent that, if I were asked to redesign the British educational system, I would start by insisting that group singing becomes a central part of the daily routine. I believe it builds character and, more than anything else, encourages a taste for cooperation with others.
african east existed far free future imagine looking music
A way to make new music is to imagine looking back at the past from a future and imagine music that could have existed but didn't. Like East African free jazz, which as far as I know does not exist.
above bad claiming committed english pop risen suddenly supposed
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.
developed eternal eternally hear itself music processes recordings
I like the idea of a kind of eternal music, but I didn't want it to be eternally repetitive, either. I wanted it to be eternally changing. So I developed two ideas in that way. 'Discreet Music' was like that, and 'Music for Airports.' What you hear on the recordings is a little part of one of those processes working itself out.
adept few incredibly kept last neglected ourselves surrender thousand treasured
Control and surrender have to be kept in balance. That's what surfers do - take control of the situation, then be carried, then take control. In the last few thousand years, we've become incredibly adept technically. We've treasured the controlling part of ourselves and neglected the surrendering part.