Brian Eno

Lyrics are always misleading because they make people think that that’s what the music is about.

The prospect of music being detachable from time and place meant that one could start to think of music as a part of one’s furniture.

I got interested in the idea of music that could make itself, in a sense, in the mid 1960s really, when I first heard composers like Terry Riley, and when I first started playing with tape recorders.

The whole history of pop music had rested on the first person singular, with occasional intrusions of the second person singular.

Perhaps when music has been shouting for so long, a quieter voice seems attractive.

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.

One often makes music to supplement one’s world.

I’ve got a feeling that music might not be the most interesting place to be in the world of things.

Most game music is based on loops effectively.

In England and Europe, we have this huge music called ambient – ambient techno, ambient house, ambient hip-hop, ambient this, ambient that.