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Eno’s Journey from Art School to the Studio

Chapter 3 offers a brief biography of Eno’s development as an artist. It shows how he came to enter the avant-garde and how he acquired the techniques that blossomed on Music for Airports. Early influences like cybernetic theory and avant-garde musical practice are considered. The chapter also looks at his early work with Roxy Music and Robert Fripp in order to explain Eno’s self-proclaimed status as a “non-musician.” The chapter argues that this is Eno’s way of approaching and organizing the activity of sounds. Overall, the chapter argues that Eno is less a rock musician that found the avant-garde than an avant-garde art student who chanced into and transformed popular music.