Brian Eno

There are certain sounds that I’ve found work well in nearly any context. Their function is not so much musical as spatial: they define the edges of the territory of the music.

I hate talking about music, to tell you the truth.

Editing is now the easiest thing on earth to do, and all the things that evolved out of word processing – ‘Oh, let’s put that sentence there, let’s get rid of this’ – have become commonplace in films and music too.

Once music ceases to be ephemeral – always disappearing – and becomes instead material… it leaves the condition of traditional music and enters the condition of painting. It becomes a painting, existing as material in space, not immaterial in time.

For instance, I’m always fascinated to see whether, given the kind of fairly known and established form called popular music, whether there is some magic combination that nobody has hit upon before.

It’s nice, I think, when people use your music for things you didn’t think of.

I make a lot of pieces of music that I never release as CDs.

I don’t like headphones very much, and I rarely listen to music on headphones.

People do dismiss ambient music, don’t they? They call it ‘easy listening,’ as if to suggest that it should be hard to listen to.

I think we’re about ready for a new feeling to enter music. I think that will come from the Arabic world.