There were actually three camps. [laughter] Both of us felt that this was where we were going to be artists. So I now have to accept that the song has gone somewhere else and start working on top of [the new construct]. Apparently there's a little shack wherever Abe Lincoln came from. Roxy Music were regarding pop music as its palette — but we did that in our heads. It wasn't at all flattering. Through him I got to meet Morton Feldman and Christian Wolff. Yes. You could come back, change it 'round and cut and paste. Until 15 years ago, you'd never play someone else's album in the studio. Tue 3 Feb 2009 10.21 GMT Bryan and I used to smoke Sullivan Powell Turkish cigarettes that you could get in the Burlington Arcade. The most useless tutors, even if I really liked them as people, were the ones that give no feedback. Music students in particular were way behind the curve. I'd hear this, "Boom! [Where a frustrated Eno unsuccessfully attempted to wipe the multitrack for the U2 song. Their Brian Eno-produced fourth studio album, Viva la Vida or Death and All His Friends (2008), the best-selling album worldwide of 2008, earned three Grammy Awards. I don't want to give the impression that I'm a sort of Svengali character where these poor, unsuspecting bands become the hosts for my parasitic ideas! Then there were the Americans. I get a bit annoyed when I see people on their phones and iPads during studio sessions, because I notice that they are failing to pick up on what is going on in the room, and of course therefore failing to contribute much. Now, one interesting thing that's happened is I've noticed in conversations in studios now, because it's easy to do, people are much more inclined to refer to other pieces of music and listen to them. [laughter] I wanted to be ready and open for when something came up. People would always say to me, "Oh, you're so lucky!" I was going to say the speeds would be in octaves. The more work that's been put into something, the less people are willing to say, "You know what? Yes. But it's one thing to hawk a product, and another to understand the physics behind its performance. I think there are two things going on here. But again, it was still clumsy and awkward to expect people to install this thing in their computer and somehow get the sound out to a decent hi-fi system. I find with most bands, they are so thrilled when somebody comes along and says, "Wow, I've never heard that idea before. Coldplay: Hypnotised is based on Eno and Chilvers’ own Bloom app. [laughter] I felt really at home between what was going on in America with the "California Minimalists," as they were then called, and what was going on in England. Available for everyone, funded by readers. That was really generative music because all I did was record myself bonging this thing every few seconds on one speed. It was in quite bad repair. Farewell to 15-minute sound collages – swapped for three-minute singles. I wouldn't have imagined it. Your words are exactly the same, so you can't accuse them of misquoting you. It was something like a Revox where you can jump from one track to the next. I hadn't joined a band yet... At the time, were you aware of. There's a sign outside that says, "Come and see Abe Lincoln's ax. There were the Europeans, who were consciously carrying on the tradition of classical music. I started to think of what I subsequently called generative music, from when I first heard those Reich pieces onward. Like Picasso did at various times where he would make direct quotes from classical paintings and didn't ever disguise the fact that he was doing so. Don't fuck it up, get it done!" The app is able to detect when ‘Hypnotised’ is playing and then plays its own generative melody, based on the song’s piano motif. I think it was very simply recorded, maybe just two mics or something. As you know, I've done a number of things that are quite obscure, as well as a lot of things that are very well known. Of course, it is only a matter of time before Eno will be forced to re-admit Martin, letting him once again run rampant over the rest of the band's experimentation. Make Noise! But that meant it could something that no other instrument could do. Brian Eno and collaborator Peter Chilvers have created a special app for Coldplay. I thought, "Wow, that's good!" If we use it as ways of making us do something new, it wasn't a waste at all. I think it was a studio called Chappell. Sometimes they're minor. Yes. There was one bit that had a really, really bad digital distortion part. There must have been something wrong about the way the bias was set because it would immediately take it all to high frequencies. The probable godfather of pop art was an English painter called Richard Hamilton; he was on it before [Andy] Warhol or anybody else. Larry Fast is a rare breed. It was accidental manipulation. I know they can do that in their sleep. Musicians, of course — because that's where their talents were — were still thinking of performance. Do you feel like you've seen that with something like Talking Heads or U2? They may be factually accurate, but they give quite a different feeling from what was going on. Steve Reich's early tape works were absolutely galvanizing! ", Martin was enough of a nuisance in the Viva La Vida sessions, it seems, that Eno wrote the band a letter before agreeing to work with them again. The interesting solution for me was to turn the crisis into an opportunity. It very quickly morphed into something different than I thought it was, which is fine. Bryan [Ferry], the founder of Roxy Music, had studied under Richard Hamilton at University of Newcastle and I had studied under Roy Ascott, who was Hamilton's protégé at Ipswich. She's not a musician and doesn't think of herself as one; she's interested in theater. [Karlheinz] Stockhausen and tape manipulation and things like that? John: Well, I used it on [Sea of Bees' Songs for the Ravens]. I believe in this and I'm going to prove it to you!" It's somewhere between an instrument and an album. It was primitive — and it was 44 years ago! My idea became to consolidate those two things. First of all, the tape recorder was the first musical tool I could handle. Let's work on that!" That was something I started a long, long time ago and I'd lost the multitrack version. It was in a distant computer and I probably couldn't play it again if I wanted to. There was this fact that the medium had changed. Brian Eno Presents Brian Eno and Peter Chilvers' Bloom! And I think I still can't, really, in the strict sense of that word. My youngest daughter is a good example. And the head's been changed." Then you can readopt them after they've been somewhere that you probably wouldn't have taken them yourself. That helps too because it forces you to believe in it. People think you've got to keep it away from the brain. I've come to think that attention is the most important thing in a studio situation. I'm now a Doctor of Letters, whatever that means. "He said that it would be better without me for the first two weeks," Martin explained to Absolute Radio. Producer Brian Eno has banned him from the studio for a … I imagine you don't have to worry too much about your finances on that end, but what are considerations that make you take on a U2 or Coldplay album these days? They were the most important things that happened to me in many ways, because I thought everything I'd been vaguely thinking about regarding composing music and how it would happen or come together was completely realized in those. In the studio, do you find yourself turning your phone off and setting it aside? When the chance to interview David Byrne presented itself, the first thought I had was how enjoyable it would be to talk about David's work over the years with Brian Eno. Well, it's a little bit like we were saying earlier. She doesn't take it seriously in the least. They were starting to realize that what you did in the studio was a painting. It was quite self-conscious, in that way. But we do that a lot now, saying, "Why don't we just collage that idea? We didn't actually listen to things and say, "Oh, see that idea on the bass? They've got their phones and their bloody iPads out. In the winter of 2011 Ian shipped his... Pierre and I had been working on different sessions on the same albums for years, so one day while in Los Angeles I popped over to meet up with him and see his cool, funky, fun spot at Kingsize... Look at the history of UK pop music over the last twenty-five years and you will invariably come across popular singles and albums that have seen the touch of producer/engineer Stephen Street. We waited patiently while paintbrushes were cleaned, cats discussed and tea made; then we sat down for an hour and talked. And then we check it out. [laughter] It's not like that at all. It's just not working." They need somebody to be engaged. I've got about 50 of them. I already had some idea, not only of how studios worked, but what I thought was possible in them that hadn't been done before. Coldplay may be back in the studio, starting work on their next album – but they're doing it without Chris Martin. I've seen this very often in the studio. It makes an entirely different impression. You can never really get exactly the same thing to happen twice. His poems are short, multi-faceted and ambiguous. Sometimes I think, "This isn't Eno-esque at all!" What working process did you take to connect words with rhythms and melodies. They aren't actually in the room, in fact, except as meat. Yes. "[Eno] said that he thought the last album was OK but it could have been much better," Martin said. The name Aspen Pittman is synonymous with vacuum tubes. I didn't really pay much attention to the studio, because I wasn't aware of it. If you question the old farmer closely, who looks after the thing, he says, "Well, the handle's been changed. One of them is a flourishing in quality and the other in quantity. It's like being in the waiting room at a doctor's office and there are a bunch of magazines lying around. Your email address will not be published. Let's let it make me go somewhere else. With iTunes, it's easier to do in a literal way. It's like a nursery — you let someone else grow them for a little while! It happened at a very important part of the lyrics of the poem. They can make you look like a complete idiot. It's like you have children and one of them goes off and marries an African and suddenly you've got these amazing looking grandchildren! Brian Eno produces. Do you feel that perhaps people hold on to certain things a little too preciously at times and need to move on? That was the area I was coming from, so I knew about that. We both had this idea that there was a new medium and that it was the medium we wanted to be artists in. It's lazy, really. We'd both come out of this background of a fine art world that had turned its attention to pop and said, "Ah, there's something interesting going on there!" So, they exist to hang these [portable] CD players. You mean you don't want another of those types of songs?"