“In the early ’70s, myself and a few friends were exchanging cassettes with each other. We’d all started to realize that what we liked best was long cassettes without much variety in them. You used to have allegro followed by andante and then largo and blah blah blah. None of us really wanted that. We weren’t after drama and surprise. We wanted a single continuous atmosphere. Then, when my friend Judy Nylon left my flat that day and left the record at too low a volume, and it was raining outside, I could only hear the music as part of the landscape. I wasn’t sure what was music and what was just the sound of rain on the window. That’s when I thought, “O.K., this is where I want to be” — sort of on the edge of music, not firmly in the center of it.”

– http://tmagazine.blogs.nytimes.com/2013/11/01/q-a-brian-eno-on-the-best-use-of-a-television-why-art-students-make-good-pop-stars-and-the-meaning-of-visual-music/?ref=todayspaper