A Quote by Colin Marston

I think Americans such as Leviathan have done a lot to expand the sonic palette of black metal. — © Colin Marston
I think Americans such as Leviathan have done a lot to expand the sonic palette of black metal.
I was listening to a lot of Norwegian black metal and death metal. There's a great history to Norwegian black metal. That music is very dark and violent, but it's also beautiful.
I wore a 'Black Metal' Venom T-shirt once, in January 1993, to promote black metal, and I regret having done that ever since.
I buy some black metal records kind of blindly, and I end up really liking maybe 30% of them. There's a lot of duds, for me at least, in black metal. I have kind of picky tastes about it.
I hardly follow the Finnish metal scene at all at the moment. I'm more interested in traditional '80s heavy metal, and I'm still a little scared of black metal and death metal and their provocative imagery.
When you talk about the security and safety of average Americans it doesn't do average Americans a lot of good to expand America's military footprint if the daily lives of average Americans are being undermined by the fact that we're no longer able to compete in a global economy. I think that's the kind of human security we have to pay more attention to.
My biggest inspiration is black America and what they've done in the arts. I have always felt like an outsider in America, and what black Americans have done to add their chapter to this book called the American dream, and to be so unapologetic and true, and have added so much to art and culture in the world. Some of the greatest inspirations in my life have been black Americans. And I just wanted to say thank you. They've been a huge inspiration, to myself and this country.
There's a lot of Americans, black and white, who think that we've arrived where we need to be and nothing else needs to be done and affirmative action needs to be dismantled.
There's a lot of music out there that's like, 'I'm so mad! I'm sad! I'm into skulls and crossbones and the color black,' and that's just meaningless and shallow. So much of metal is about that and it's hard to find metal that is substantial and meaningful in terms of its content.
I just think that a metal band covering a bunch of metal songs is so boring, so 'done before.'
This band is metal in that we have a lot of metal in our instruments, and there's quite a lot of metal on my belt buckle as well.
On the whole, the modern palette is the same as the one used by the artists of Pompeii... I mean it has not been enriched. The ancients used earths, ochres, and ivory-black - you can do anything with that palette.
I think black Americans expect too much from individual black Americans in terms of changing the status quo.
I am no friend of the modern so-called 'black metal' culture. It is a tasteless, lowbrow parody of Norwegian black metal circa 1991-92, and if it was up to me, it would meet its dishonorable end as soon as possible.
The color palette grew as the story progressed. The 1920's sharecroppers were muted and neutrals, the 30's and 40's introduced burgundy to the neutral palette. The 1950's introduced green, black and denim blue, the 1960's introduced orange and heavier more saturated color, the 1970's introduced more primaries, and the fashion palette became more recognizable as a contemporary one from there.
There are a good number of people creating black metal and black metal inspired music in the northwest. Much of this music is radically noncommercial and exists only on a very local, private level.
As for complicating the black metal aesthetic, I don't care about that since it was never a goal of mine to lay out any particular preconceived aesthetic, let alone one of traditional black metal where pseudonyms are adopted.
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