A Quote by Phil Elverum

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 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.
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 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.
People ask me if I'm influenced by British music, and I suppose I grew up listening to mostly British music - from new wave stuff through to heavy metal. Like, when I got into metal, it was Black Sabbath. I never really got into a lot of American rock. I appreciate some of it, but not much! Most of the great new wave music was coming out of Britain, and Germany. So maybe those influences have made their way into my music, and perhaps that's why I have this connection with people in Europe. But maybe it's something cosmic.
To me, a lot people really get wrapped up in the technical side of metal and what's metal and what's not and more double-kick and more blast beats and more technicality, but for me, I'm a song person. So I think you can write good songs in any type of style of rock and any type of style of metal, and that's kind of what I'm a fan of.
I wore a 'Black Metal' Venom T-shirt once, in January 1993, to promote black metal, and I regret having done that ever since.
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.
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.
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.
The media love to cover black people on the front page. After all, when you live in a society that will lock up about 30 percent of all black men at some time in their lives and send more of them to prison than to college, chances are a fair number of those black faces will end up in the newspaper.
I was brought up in black neighborhoods in South Baltimore. And we really felt like we were very black. We acted black and we spoke black. When I was a kid growing up, where I came from, it was hip to be black. To be white was kind of square.
Bands like Metallica never sat around and said, 'We're speed metal,' or 'We're thrash metal.' If it feels good at the end of the day, to me, that's metal.
I was raised in a completely black world. In those days, if a white woman married a black man, she lived as a black woman, and that was just the end of it. So, I don't have a feeling of being bi-racial. I don't have a connection to it. People often come up to me thinking I do have a connection to it, and I kind of let them down because I really don't.
Starting in junior high school, through high school, I was very into metal or black metal and death metal specifically.
We're just a metal band. Whenever people ask me what kind of music we play, I always say metal.
When I first got involved in the underground metal scene in '82, '83, there were only about five or six major Death or Black Metal bands around. There were so many other bands that were inspirational, that really helped.
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