Brian Eno Quotes

I always like to say that the music I'd like to make is somewhere between Pan Sonic and Scott Walker. But I don't sing anything like Scott Walker.

I was a big fan of Middle Eastern elements of music and experimental electronic and tribal sounds.

'Blackheart' is purely falling into the electronic world and pushing the envelope.

Virtual Self' was me trying to paint a picture of a very foggy, distorted memory that I had of electronic music on the internet.

You will hear ambient in our music. You will hear trip-hop.

For me, electronic music is the classical music of the 21st century.

I think my sound is post-Internet.

I'm actually pretty good with computers. I use computers when I'm working on making and producing music, so I do know a thing or two!

One of the most prevalent and undermentioned genres of music is what is known as noise. You can find it all over the world happening in basements, small venues and even some festivals. Often blown off or belittled by critics, the form for the most part goes unheard and unnoticed.

I come from a background of experimental music which mingled real sounds together with musical sounds.

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.

I think the first person who kind of broke my mind was probably Jimi Hendrix. Listening to him opened my mind up to where you can take music and how far you can take rock n' roll.

My big influences are Joni Mitchell, and a lot of classical and Indian music, as well as Nina Simone and the personal blues and jazz of Billie Holiday. Other influences for me include Bjork, Nick Drake, and Sufjan Stevens.

Music, in the past few years... anything singable or understandable is square.

Dance music is no longer a simple Donna Summer beat. It's become a whole language that I find fascinating and exciting. Eventually, it will lose the dance tag and join the fore of rock.

Today, computers help us making the music. It's really a tool.

We were really interested in music from all over the world. We realized that what we were doing was very close to contemporary classical music because of the lack of tonality in the guitar- the fact that I play guitar the way I play.

New Age is a very small box. It was a term that was brought in by the music industry to classify music that is neither jazz, classical, pop or rock. They didn't know what to call it or what to do with it. So they threw it all together under this one name.

Sigur Ros make beautiful music. Bloc Party are fantastic and exciting and innovative.

There's a confusion sometimes with the laptop being the current tools and where electronic music initially comes from.

Music is composed on computers and other electronic equipment; producers don't want to spend money on orchestra.

I am a massive fan of early electronica like Steve Reich, Pat Metheny and Thomas Dolby. I used to be a big raver, too, so anything dance. I love ambient music like Tunng. I love acoustic and classical, too.

I don't appreciate avant-garde, electronic music. It makes me feel quite ill.

Musically, I didn't relate to Berlin. There seemed to be a lot of machine music made there - I don't think I saw a stringed instrument in two years.

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.