Eno (photo by Richard Burbridge)
Yesterday I read two articles that jarred a few thoughts loose in my head. One was a feature () by Sasha Frere-Jones in The New Yorker about the musician Brian Eno and one was a Q&A (here) between Kim Kelly and Bölzer’s guitarist/vocalist Okoi “KzR” Jones that appeared at Stereogum.
Eno is credited with coining the phrase “ambient music”. He first became visible through his membership in the band Roxy Music and his subsequent solo albums of pop and rock songs that made extensive use of synthesizers. He produced Devo’s debut album, produced and performed on three albums by Talking Heads, produced seven albums for U2, wrote music and performed on three David Bowie albums, collaborated with King Crimson’s Robert Fripp on multiple records, and worked as a producer and/or performer with many other musicians too numerous to mention. On top of that he is a visual artist, and he has continued experimenting in the creation of music to the present day.
When he spoke to Sascha Frere-Jones in 2013, Eno said:
“I think negative ambition is a big part of what motivates artists. It’s the thing you’re pushing against. When I was a kid, my negative ambition was that I didn’t want to get a job.”
Listening to Eno’s music and reading about the evolution of his life as an artist, you get the sense that his “negative ambition” extended beyond not wanting to get a conventional job. As Sasha-Jones wrote of his art, “Eno fights against received wisdom and habit”. Even in his work as a producer, “Eno often works with highly skilled musicians and then asks them to play against their own virtuosity”.