Quotes About Brian Eno

I'd been making music that was intended to be like painting, in the sense that it's environmental, without the customary narrative and episodic quality that music normally has. I called this 'ambient music.' But at the same time I was trying to make visual art become more like music, in that it changed the way that music changes.

At the party, Rob Partridge said to me, "You gave hope to other balding men." My new epitaph: "Co-wrote a couple of decent songs and went bald shamelessly."

I wanted to get rid of the element that had been considered essential in pop music: the voice.

Brian Eno is an iconic and omnipresent pioneer in the world of ambient music, but he's gained real staying power while working behind the boards. He's produced albums for some of modern music's most influential artists, including Devo, David Bowie, U2, Coldplay, Peter Gabriel and Talking Heads.

Technology was changing just as we were getting started. You had these records by people like David Bowie and Talking Heads and Brian Eno that took production into a whole new direction. That really influenced us, and pushed us to find that early sound we had.

I am a very big fan of Brian Eno, of his work as an artist and making his music, and as a producer. In some ways, I have looked to his career as a model for my own.

Almost all the producers I know and dig, like Quincy Jones or Brian Eno, are really musicians first. I'm a composer, an orchestrator, an arranger and a musician first. I know how to write and rewrite songs, and the genius is really in the rewriting.

Imagine if every airport would blast Brian Eno. I bet going through security wouldn't be as difficult. I can't imagine someone being aggressive with me with Brian Eno music pumping through the terminals at LAX.

I know that if I had a television in my flat I would convince myself that everything on it was really interesting. I would say, 'I'm a Celebrity - Get Me Out of Here!' is so sociologically fascinating that I think I'd better watch.

David Bowie worked with Brian Eno and dressed up in extraordinary clothes, but he was also a brilliant songwriter who captured the thoughts of a generation. He was hugely successful, without compromise.

The only time that I've adopted characterization again since that point, for my own albums, has been an album called "Outside" that I did with Brian Eno.

I was always interested in mixing experimentation with pop music, and Brian Eno, Kraftwerk, Tangerine Dream - we were all doing it at the same time, just very isolated from each other, all in our different cellars, in different worlds, without the Internet - underground in every sense.

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.

I wanted to get rid of the element that had been considered essential in pop music: the voice.

Given the chance, i'll die like a baby, on some faraway beach, when the season's over.

Ambient music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting

I suppose I am reluctant about being any sort of 'star' and I didn't particularly want to be portrayed as one.

The way 'Lux' was made is that there are 12 sections in here, though two of them are joined together. So there are really 11 sections, in a sense, and each one uses five notes out of a palette of seven notes, and my palette is all the white notes on the piano. That was the original palette.