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The lineup also includes Swedish punks \u003ca href=\"https://www.vboysstockholm.com/\">Viagra Boys\u003c/a> and Australian industrial rockers \u003ca href=\"https://www.vowwsband.com/\">VOWWS\u003c/a>. The concert is expected to be the only West Coast date for System of a Down in 2024 outside of this month’s \u003ca href=\"https://www.sicknewworldfest.com/\">Sick New World\u003c/a> festival in Las Vegas.\u003c/p>\n\u003cp>Presented by Another Planet Entertainment, which also produces Outside Lands, the single-stage concert will take place on the weekend following Outside Lands. The concert’s proximity to Outside Lands means it will utilize much of the infrastructure from the weekend before, not unlike the country music-oriented Stagecoach festival, which takes place in Indio on the weekend following Coachella, or Napa’s Latin-music themed Festival La Onda, which this year follows the BottleRock music festival.\u003c/p>\n\u003cp>\u003ca href=\"https://goldengateparkconcerts.com/\">Tickets for the festival\u003c/a> are priced at $169 for general admission and $399 for VIP tickets plus fees. VIP guests will get expedited entry and have access to a closer views of the stage, lounges and upgraded bathrooms. Tickets officially go on sale on April 12, but \u003ca href=\"https://www.ticketmaster.com/event/1C006084BF4C4CF8?camefrom=CFC_ANOTHERPLANET_GGPCWEB&brand=anotherplanet\">Another Planet’s presale\u003c/a> starts on April 11 at 10 a.m. using the presale code \u003cstrong>golden\u003c/strong>.\u003c/p>\n\u003cp>[aside postID='news_11960570']Deftones and VOWWS last appeared in San Francisco together at a sold-out show at Bill Graham Civic Auditorium in April 2022 — a concert that was twice delayed by the COVID pandemic. Though Sacramento heroes Deftones are well-versed in playing for huge crowds at European festivals like Rock Am Ring and Reading/Leeds, this will be their biggest Bay Area concert to date.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The concert is the first to be produced under Another Planet’s newly formed Golden Gate Park Concerts banner. In September of 2023, \u003ca href=\"https://www.kqed.org/news/11960570/sfs-golden-gate-park-may-soon-host-new-concert-series-from-producers-of-outside-lands\">San Francisco’s Board of Supervisors approved additional concerts in Golden Gate Park\u003c/a>, with the stipulation that Another Planet produce three free concerts at the Civic Center, Union Square and the Embarcadero. The city also granted Another Planet exclusive rights to producing ticketed concerts in Golden Gate Park.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are excited to be bringing such an iconic lineup to the city,” Allen Scott, Another Planet’s president of concerts and festivals, said in a statement. “We are expecting fans from not just the Bay Area but from across the US and internationally.”\u003c/p>\n\n","blocks":[],"excerpt":"The one-day concert gets underway in Golden Gate Park's Polo Fields on Aug. 17, 2024.","status":"publish","parent":0,"modified":1712692603,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":444},"headData":{"title":"Ticket Alert: System of a Down, Deftones Concert Presale Code in SF | KQED","description":"How to score tickets before the general onsale for System of a Down and Deftones in San Francisco's Golden Gate Park.","ogTitle":"System of a Down, Deftones to Headline San Francisco Concert After Outside Lands","ogDescription":"","ogImgId":"","twTitle":"System of a Down, Deftones to Headline San Francisco Concert After Outside Lands","twDescription":"","twImgId":"","socialTitle":"Ticket Alert: System of a Down, Deftones Concert Presale Code in SF %%page%% %%sep%% KQED","socialDescription":"How to score tickets before the general onsale for System of a Down and Deftones in San Francisco's Golden Gate Park."},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955656/deftones-system-of-a-down-tickets-presale-code-san-francisco-golden-gate-outside-lands","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Deftones, System of a Down and The Mars Volta will play in San Francisco’s Golden Gate Park this August, inaugurating a new annual event on the same site as the Outside Lands music festival.\u003c/p>\n\u003cp>The one-day concert will take place in Golden Gate Park’s Polo Fields on Aug. 17, 2024 for an audience of up to 65,000 people. The lineup also includes Swedish punks \u003ca href=\"https://www.vboysstockholm.com/\">Viagra Boys\u003c/a> and Australian industrial rockers \u003ca href=\"https://www.vowwsband.com/\">VOWWS\u003c/a>. The concert is expected to be the only West Coast date for System of a Down in 2024 outside of this month’s \u003ca href=\"https://www.sicknewworldfest.com/\">Sick New World\u003c/a> festival in Las Vegas.\u003c/p>\n\u003cp>Presented by Another Planet Entertainment, which also produces Outside Lands, the single-stage concert will take place on the weekend following Outside Lands. The concert’s proximity to Outside Lands means it will utilize much of the infrastructure from the weekend before, not unlike the country music-oriented Stagecoach festival, which takes place in Indio on the weekend following Coachella, or Napa’s Latin-music themed Festival La Onda, which this year follows the BottleRock music festival.\u003c/p>\n\u003cp>\u003ca href=\"https://goldengateparkconcerts.com/\">Tickets for the festival\u003c/a> are priced at $169 for general admission and $399 for VIP tickets plus fees. VIP guests will get expedited entry and have access to a closer views of the stage, lounges and upgraded bathrooms. Tickets officially go on sale on April 12, but \u003ca href=\"https://www.ticketmaster.com/event/1C006084BF4C4CF8?camefrom=CFC_ANOTHERPLANET_GGPCWEB&brand=anotherplanet\">Another Planet’s presale\u003c/a> starts on April 11 at 10 a.m. using the presale code \u003cstrong>golden\u003c/strong>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11960570","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Deftones and VOWWS last appeared in San Francisco together at a sold-out show at Bill Graham Civic Auditorium in April 2022 — a concert that was twice delayed by the COVID pandemic. Though Sacramento heroes Deftones are well-versed in playing for huge crowds at European festivals like Rock Am Ring and Reading/Leeds, this will be their biggest Bay Area concert to date.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The concert is the first to be produced under Another Planet’s newly formed Golden Gate Park Concerts banner. In September of 2023, \u003ca href=\"https://www.kqed.org/news/11960570/sfs-golden-gate-park-may-soon-host-new-concert-series-from-producers-of-outside-lands\">San Francisco’s Board of Supervisors approved additional concerts in Golden Gate Park\u003c/a>, with the stipulation that Another Planet produce three free concerts at the Civic Center, Union Square and the Embarcadero. The city also granted Another Planet exclusive rights to producing ticketed concerts in Golden Gate Park.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are excited to be bringing such an iconic lineup to the city,” Allen Scott, Another Planet’s president of concerts and festivals, said in a statement. “We are expecting fans from not just the Bay Area but from across the US and internationally.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955656/deftones-system-of-a-down-tickets-presale-code-san-francisco-golden-gate-outside-lands","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_11615","arts_69","arts_75"],"tags":["arts_2427","arts_994","arts_1694","arts_905","arts_585","arts_700"],"featImg":"arts_13955665","label":"arts_140"},"arts_13936847":{"type":"posts","id":"arts_13936847","meta":{"index":"posts_1591205157","site":"arts","id":"13936847","score":null,"sort":[1698086780000]},"guestAuthors":[],"slug":"queer-metal-band-ragana-casts-modern-spells-for-liberation","title":"Queer Metal Band Ragana Casts ‘Modern Spells’ for Liberation","publishDate":1698086780,"format":"standard","headTitle":"Queer Metal Band Ragana Casts ‘Modern Spells’ for Liberation | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>When \u003ca href=\"https://ragana.bandcamp.com/\">Ragana\u003c/a> first contacted San Francisco metal label \u003ca href=\"https://nowflensing.com/?gclid=CjwKCAjws9ipBhB1EiwAccEi1IToOlYKgyTaoGOFe3buDvkVfoK8TE3MfOKkXprBMXtBlTPQspLHnBoCRksQAvD_BwE\">The Flenser\u003c/a> about releasing their music, they sent them their first two tapes in a box filled with moss. Everything the metal duo does seems to be in the service of some kind of spell — something that Coley, one of the band’s two mononymous multi-instrumentalists, defines as “bringing an idea into reality.”\u003c/p>\n\u003cp>“I feel like we’re doing magic, but not in some esoteric way,” says Coley. “If you say ‘witchcraft,’ it brings up a lot of connotations of spooky things, but I feel more the ability to make people see things that are right in front of their eyes, the ability to change people’s emotions and feelings.”\u003c/p>\n\u003cp>Ragana (pronounced RAHG-a-na — Latvian and Lithuanian for “witch”) is split between Olympia, Wash., where Coley lives, and Oakland, where fellow drummer-guitarist-singer Maria lives. Both are cities with long histories of activism, and Ragana, which identifies as a “queer antifascist black metal/doom duo,” sees its “modern spells” as a conduit for social and political change.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1593529578/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Desolation’s Flower\u003c/em> (out October 27) is their first album for The Flenser, which has become a hub for eccentric, innovative and heavy music since San Francisco native Jonathan Tuite founded it in 2010. The seven songs on \u003cem>Desolation’s Flower\u003c/em> include the title track, a “hymn to queer and trans ancestors,” and “DTA” (“Death to America”), which literalizes the concept of protest music by integrating a field recording from the 2020 George Floyd protests in Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wanted to tie in the actual sound of a movement, a revolution of people living and breathing and experiencing in that moment,” says Maria. “It’s really powerful to hear that energy, and stressful to tear gas hitting the ground and cops and people chanting. It’s a feeling I wanted to invite into our music and have people think about. I just want people to think about revolution.”\u003c/p>\n\u003cp>Coley and Maria met in 2011 in Olympia, a focal point for the raw and atmospheric style of metal that’s come to be associated with the Pacific Northwest and its rainy, rugged landscape. They first bonded over Wolves in the Throne Room, one of Olympia’s most influential metal bands.\u003c/p>\n\u003cp>“The first time we ever met was at a grocery store,” says Coley. “We were each with a different friend, and I was wearing a Wolves in the Throne Room T-shirt, and Maria thought it was cool, which was very flattering. Our mutual friends encouraged us to meet and play music together.” [aside label='More Music Coverage' postid='arts_13928718,arts_13936776,arts_13936614']\u003c/p>\n\u003cp>The duo works in a style that has often been described as “blackened doom metal” — a fusion of the foreboding crawl of doom metal with the rugged, elemental sound of black metal. “The two of us wanted to play something that felt unique and heavy and dark and beautiful,” says Maria.\u003c/p>\n\u003cp>Both musicians describe themselves as “drummers first” and trade vocal, songwriting and guitar duties. Maria describes her songwriting style as simpler and more lyrics-driven, while Coley describes their own style as more complex. “Maria writes catchier hits,” Coley jokes.\u003c/p>\n\u003cp>Ragana’s catchiest hit to date is 2017’s “You Take Nothing.” No one leaves a Ragana show without its titular refrain in their head, which Maria shouts over and over again like a shamanic invocation against evil. At the band’s performance at the Swedish American Hall at 2022’s \u003ca href=\"https://www.kqed.org/arts/tag/noise-pop\">Noise Pop\u003c/a>, opening for the legendary Northwest indie-folk project The Microphones, the duo led the crowd in an ecstatic shout-along that seemed to energize the audience and lift the spirits in the room.\u003c/p>\n\u003cp>The two musicians’ frequent switching between instruments at live shows lends an element of unpredictability to their performances. “The band just wouldn’t be the same if we weren’t switching instruments on each song and writing different songs,” says Coley. “It renews or changes the energy when we switch instruments, which is cool to experience as a musician.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1871941623/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>For all its musical innovation, heavy metal can be a surprisingly conservative genre, with a strong reactionary streak. This is \u003ca href=\"https://www.cjr.org/first_person/heavy-metal-capitol-spotting-nazis.php\">especially true in black metal\u003c/a>, some of whose stars have openly expressed racist, homophobic and fascist views.\u003c/p>\n\u003cp>So how are metal fans reacting to a proudly queer duo going against the grain? Coley says that, aside from “people making up comments on random metal websites,” the band has largely avoided hostility from the wider scene.\u003c/p>\n\u003cp>“In real life we’ve chosen to surround ourselves with people who we respect and who respect us and share a similar commitment to expansiveness in music and less of an obsession with strictly defining labels and gatekeeping who can do what,” says Coley.\u003c/p>\n\u003cfigure id=\"attachment_13936854\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936854\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/ragana-3.jpg\" alt=\"Maria strums her guitar and Coley plays drums at Ragana's live performance at Hollywood Forever in Los Angeles.\" width=\"2500\" height=\"1667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-1920x1280.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Ragana’s Maria (left) and Coley (right) both sing and play guitar and drums. They often switch instruments during shows. \u003ccite>(Debi Del Grande )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Flenser has become something of a hub for heavy bands that embrace open-mindedness in both music and philosophy. Ragana’s labelmates include \u003ca href=\"https://agriculturemusic.bandcamp.com/album/agriculture\">Agriculture\u003c/a>, an “ecstatic black metal” band co-fronted by trans musician and writer \u003ca href=\"https://leahlevinson.info/\">Leah B. Levinson\u003c/a>, and \u003ca href=\"https://chatpile.bandcamp.com/\">Chat Pile\u003c/a>, an Oklahoma band whose music deals uncompromisingly with American industrial and infrastructural decay.\u003c/p>\n\u003cp>Ragana will celebrate the release of \u003cem>Desolation’s Flower\u003c/em> on Nov. 3 with a show at \u003ca href=\"https://www.eventbrite.com/e/ragana-record-release-show-with-kim-cheree-tickets-713870815827?aff=oddtdtcreator\">Eli’s Mile High Club in Oakland\u003c/a>, joined by two like-minded East Bay bands: punk-doom band \u003ca href=\"https://kimaband.bandcamp.com/\">KIM\u003c/a> and industrial noise-rock quartet \u003ca href=\"https://chereeusa.bandcamp.com/album/factory\">Cheree\u003c/a>.\u003c/p>\n\u003cp>“The Bay Area is an inspiring place,” says Maria. “In Oakland, there’s a lot of openness to ideas, openness to people living in different ways. And I think it has just brought out a lot of inspiration that life can be uplifted, revolutions can happen and people can be inspired and changed.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ragana performs at Eli’s Mile High Club in Oakland with KIM and Cheree on Nov. 3. \u003ca href=\"https://www.eventbrite.com/e/ragana-record-release-show-with-kim-cheree-tickets-713870815827?aff=oddtdtcreator\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"'I just want people to think about revolution,' says band member Maria of their new album, 'Desolation's Flower.'","status":"publish","parent":0,"modified":1705003194,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=1593529578/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=1871941623/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1067},"headData":{"title":"Queer Metal Band Ragana Casts ‘Modern Spells’ for Liberation | KQED","description":"'I just want people to think about revolution,' says band member Maria of their new album, 'Desolation's Flower.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Daniel Bromfield","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13936847/queer-metal-band-ragana-casts-modern-spells-for-liberation","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://ragana.bandcamp.com/\">Ragana\u003c/a> first contacted San Francisco metal label \u003ca href=\"https://nowflensing.com/?gclid=CjwKCAjws9ipBhB1EiwAccEi1IToOlYKgyTaoGOFe3buDvkVfoK8TE3MfOKkXprBMXtBlTPQspLHnBoCRksQAvD_BwE\">The Flenser\u003c/a> about releasing their music, they sent them their first two tapes in a box filled with moss. Everything the metal duo does seems to be in the service of some kind of spell — something that Coley, one of the band’s two mononymous multi-instrumentalists, defines as “bringing an idea into reality.”\u003c/p>\n\u003cp>“I feel like we’re doing magic, but not in some esoteric way,” says Coley. “If you say ‘witchcraft,’ it brings up a lot of connotations of spooky things, but I feel more the ability to make people see things that are right in front of their eyes, the ability to change people’s emotions and feelings.”\u003c/p>\n\u003cp>Ragana (pronounced RAHG-a-na — Latvian and Lithuanian for “witch”) is split between Olympia, Wash., where Coley lives, and Oakland, where fellow drummer-guitarist-singer Maria lives. Both are cities with long histories of activism, and Ragana, which identifies as a “queer antifascist black metal/doom duo,” sees its “modern spells” as a conduit for social and political change.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1593529578/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Desolation’s Flower\u003c/em> (out October 27) is their first album for The Flenser, which has become a hub for eccentric, innovative and heavy music since San Francisco native Jonathan Tuite founded it in 2010. The seven songs on \u003cem>Desolation’s Flower\u003c/em> include the title track, a “hymn to queer and trans ancestors,” and “DTA” (“Death to America”), which literalizes the concept of protest music by integrating a field recording from the 2020 George Floyd protests in Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wanted to tie in the actual sound of a movement, a revolution of people living and breathing and experiencing in that moment,” says Maria. “It’s really powerful to hear that energy, and stressful to tear gas hitting the ground and cops and people chanting. It’s a feeling I wanted to invite into our music and have people think about. I just want people to think about revolution.”\u003c/p>\n\u003cp>Coley and Maria met in 2011 in Olympia, a focal point for the raw and atmospheric style of metal that’s come to be associated with the Pacific Northwest and its rainy, rugged landscape. They first bonded over Wolves in the Throne Room, one of Olympia’s most influential metal bands.\u003c/p>\n\u003cp>“The first time we ever met was at a grocery store,” says Coley. “We were each with a different friend, and I was wearing a Wolves in the Throne Room T-shirt, and Maria thought it was cool, which was very flattering. Our mutual friends encouraged us to meet and play music together.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"More Music Coverage ","postid":"arts_13928718,arts_13936776,arts_13936614"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The duo works in a style that has often been described as “blackened doom metal” — a fusion of the foreboding crawl of doom metal with the rugged, elemental sound of black metal. “The two of us wanted to play something that felt unique and heavy and dark and beautiful,” says Maria.\u003c/p>\n\u003cp>Both musicians describe themselves as “drummers first” and trade vocal, songwriting and guitar duties. Maria describes her songwriting style as simpler and more lyrics-driven, while Coley describes their own style as more complex. “Maria writes catchier hits,” Coley jokes.\u003c/p>\n\u003cp>Ragana’s catchiest hit to date is 2017’s “You Take Nothing.” No one leaves a Ragana show without its titular refrain in their head, which Maria shouts over and over again like a shamanic invocation against evil. At the band’s performance at the Swedish American Hall at 2022’s \u003ca href=\"https://www.kqed.org/arts/tag/noise-pop\">Noise Pop\u003c/a>, opening for the legendary Northwest indie-folk project The Microphones, the duo led the crowd in an ecstatic shout-along that seemed to energize the audience and lift the spirits in the room.\u003c/p>\n\u003cp>The two musicians’ frequent switching between instruments at live shows lends an element of unpredictability to their performances. “The band just wouldn’t be the same if we weren’t switching instruments on each song and writing different songs,” says Coley. “It renews or changes the energy when we switch instruments, which is cool to experience as a musician.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1871941623/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>For all its musical innovation, heavy metal can be a surprisingly conservative genre, with a strong reactionary streak. This is \u003ca href=\"https://www.cjr.org/first_person/heavy-metal-capitol-spotting-nazis.php\">especially true in black metal\u003c/a>, some of whose stars have openly expressed racist, homophobic and fascist views.\u003c/p>\n\u003cp>So how are metal fans reacting to a proudly queer duo going against the grain? Coley says that, aside from “people making up comments on random metal websites,” the band has largely avoided hostility from the wider scene.\u003c/p>\n\u003cp>“In real life we’ve chosen to surround ourselves with people who we respect and who respect us and share a similar commitment to expansiveness in music and less of an obsession with strictly defining labels and gatekeeping who can do what,” says Coley.\u003c/p>\n\u003cfigure id=\"attachment_13936854\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936854\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/ragana-3.jpg\" alt=\"Maria strums her guitar and Coley plays drums at Ragana's live performance at Hollywood Forever in Los Angeles.\" width=\"2500\" height=\"1667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-1920x1280.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Ragana’s Maria (left) and Coley (right) both sing and play guitar and drums. They often switch instruments during shows. \u003ccite>(Debi Del Grande )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Flenser has become something of a hub for heavy bands that embrace open-mindedness in both music and philosophy. Ragana’s labelmates include \u003ca href=\"https://agriculturemusic.bandcamp.com/album/agriculture\">Agriculture\u003c/a>, an “ecstatic black metal” band co-fronted by trans musician and writer \u003ca href=\"https://leahlevinson.info/\">Leah B. Levinson\u003c/a>, and \u003ca href=\"https://chatpile.bandcamp.com/\">Chat Pile\u003c/a>, an Oklahoma band whose music deals uncompromisingly with American industrial and infrastructural decay.\u003c/p>\n\u003cp>Ragana will celebrate the release of \u003cem>Desolation’s Flower\u003c/em> on Nov. 3 with a show at \u003ca href=\"https://www.eventbrite.com/e/ragana-record-release-show-with-kim-cheree-tickets-713870815827?aff=oddtdtcreator\">Eli’s Mile High Club in Oakland\u003c/a>, joined by two like-minded East Bay bands: punk-doom band \u003ca href=\"https://kimaband.bandcamp.com/\">KIM\u003c/a> and industrial noise-rock quartet \u003ca href=\"https://chereeusa.bandcamp.com/album/factory\">Cheree\u003c/a>.\u003c/p>\n\u003cp>“The Bay Area is an inspiring place,” says Maria. “In Oakland, there’s a lot of openness to ideas, openness to people living in different ways. And I think it has just brought out a lot of inspiration that life can be uplifted, revolutions can happen and people can be inspired and changed.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ragana performs at Eli’s Mile High Club in Oakland with KIM and Cheree on Nov. 3. \u003ca href=\"https://www.eventbrite.com/e/ragana-record-release-show-with-kim-cheree-tickets-713870815827?aff=oddtdtcreator\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13936847/queer-metal-band-ragana-casts-modern-spells-for-liberation","authors":["byline_arts_13936847"],"categories":["arts_1","arts_69"],"tags":["arts_2546","arts_10278","arts_994"],"featImg":"arts_13936853","label":"arts"},"arts_13927738":{"type":"posts","id":"arts_13927738","meta":{"index":"posts_1591205157","site":"arts","id":"13927738","score":null,"sort":[1681410622000]},"guestAuthors":[],"slug":"metallica-72-seasons-james-hetfield-lars-ulrich-share-writing-credits-new-album","title":"Metallica Says New Album ‘72 Seasons’ Is ‘Dark’ and ‘Taboo’ as Ever","publishDate":1681410622,"format":"standard","headTitle":"Metallica Says New Album ‘72 Seasons’ Is ‘Dark’ and ‘Taboo’ as Ever | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Zoom has been credited for keeping students and teachers connected, the judicial system working and fitness classes jumping. You can add a Metallica album to that list.\u003c/p>\n\u003cp>The hard rockers met weekly over their computers to stay connected during the pandemic, a standing get-together that eventually became a songwriting factory. The first step was an acoustic version of their song “Blackened.”\u003c/p>\n\u003cp>“It proved to us that, yes, we can at least do something remotely while we’re all still separated,” says guitarist Kirk Hammett. “That grew into trying to get riffs together for the new album though Zoom.”\u003c/p>\n\u003cp>Six or seven of those song sketches ended up on \u003cem>72 Seasons\u003c/em>, the band’s 12th full-length album, out Friday. It’s the sound of a band not slowing down, despite singer and rhythm guitarist James Hetfield and drummer Lars Ulrich turning 60 this year and Hammett already on the other side of that milestone. Bassist Robert Trujillo is the baby, at just 58.\u003c/p>\n\u003cfigure id=\"attachment_13927741\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927741\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-1243490028-1-scaled-e1681409022822-800x533.jpg\" alt=\"A smiling man with long braids, dressed in all black, onstage playing a bass.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1243490028-1-scaled-e1681409022822-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1243490028-1-scaled-e1681409022822-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1243490028-1-scaled-e1681409022822-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1243490028-1-scaled-e1681409022822-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1243490028-1-scaled-e1681409022822-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1243490028-1-scaled-e1681409022822.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Trujillo at the Global Citizen Festival in New York, September 2022. \u003ccite>(ANGELA WEISS/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It ended up working really fantastic,” says Hetfield. “I know what we do. I know what we do best. I know what we’ve done before. But there’s also an artist in me that wants to keep evolving and trying to do different stuff.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The album is a typical Metallica album — fast and furious with superb artistry — and lyrics that poke at the scab of pain and alienation. Yet there are some shoots of hope, as when Hetfield snarls, “Without darkness/ There’s no light.”\u003c/p>\n\u003cp>“Darkness is easy to talk about for me. So, so easy. And I wanted to offer a little more light in it,” says Hetfield, who has been frank about his battles with addiction.\u003c/p>\n\u003cp>[aside postid='arts_13891674']The title refers to the first 18 years of a person’s life and the album explores the cruelty of youth and the dangers of growing up.\u003c/p>\n\u003cp>“I wish I knew then what I know now — you can take that sentence, and apply it to the whole concept of this album,” says Hammett. “It’s a real provocative sort of concept that’s somewhat challenging and somewhat introspective.”\u003c/p>\n\u003cp>Noteworthy is “Screaming Suicide,” with a nasty inner voice taunting the singer. While far from the first time the band has tackled the issue, this time Hetfield drives into it, singing “Don’t ever speak my name/ Remember you’re to blame/ Keep me inside/ My name is suicide.”\u003c/p>\n\u003cp>“That was some delicate territory to navigate. But in the words of Mister Rogers, ‘If it’s a human experience, we should be able to talk about it,’” says Hetfield. “I’ve had those thoughts. Who hasn’t had those thoughts? If you say you haven’t, maybe you’re fooling yourself a little bit.”\u003c/p>\n\u003cfigure id=\"attachment_13927742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927742\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-11.06.45-AM-800x797.png\" alt=\"A yellow album cover depicting the charred remains of a broken crib surrounded by broken toys and musical instruments.\" width=\"800\" height=\"797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-11.06.45-AM-800x797.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-11.06.45-AM-1020x1016.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-11.06.45-AM-160x159.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-11.06.45-AM-768x765.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-11.06.45-AM.png 1052w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metallica’s ‘72 Seasons.’ \u003ccite>(Rhino/ Blackened Recordings)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hammett is full of admiration for Hetfield’s lyrics and hopes the songs can help listeners get a better understanding of themselves.\u003c/p>\n\u003cp>“The topics are dark. The topics are taboo. But what he’s doing is shining light on them. He’s bringing awareness to them and saying this is a real issue that people need to deal with.”\u003c/p>\n\u003cp>\u003cem>72 Seasons\u003c/em> also sees Hetfield experimenting with vocal effects and styles, like ghostlike chanting on “You Must Burn!” and an almost languid, glam vibe on “Crown of Barbed Wire.”\u003c/p>\n\u003cp>“As far as vocals go, I really wanted to just explore some different stuff. I have a fear that all the songs kind of end up sounding the same. So I like giving them a little more character with different things,” he says.\u003c/p>\n\u003cp>[aside postid='arts_13875915']Another change is that on \u003cem>72 Seasons\u003c/em>, Hammett and Trujillo were given writing credits on more than half the album, a return to the way previous albums came together, like “Death Magnetic” and “St. Anger.”\u003c/p>\n\u003cp>“All four guys were on the floor when we were writing, which is new for us. Usually it’s just Lars and I sitting out there hashing it out. It felt really great to have the energy of all four,” says Hetfield. “There’s a lot more democracy on this album. Lars and I gave up the steering wheel a little more than usual.”\u003c/p>\n\u003cp>Hammett agrees: “It was much more collaborative. The attitude was just more open. There is less limitations on everyone’s creativity and I think that shows.” His favorite song and riff on the album were supplied by Trujillo.\u003c/p>\n\u003cp>The band has lately gotten a popular bounce from TV show \u003cem>Stranger Things\u003c/em>. In the season four finale, fan-favorite character Eddie Munson heroically rocks out to Metallica’s “Master of Puppets” in the Upside Down, a sequence Hammett calls “the Metallica music video that was never made.” The song even reached No. 40 the Billboard Hot 100.\u003c/p>\n\u003cp>“\u003cem>Stranger Things\u003c/em> definitely took ‘Master of Puppets’ to another level and it feels like fans of ours that maybe grew up with this are now in positions of power,” says Hetfield. “You know, it’s like, ‘Hey, I’m a fan of Metallica. Why can’t we put this in there?’ So I’m super-grateful.”\u003c/p>\n\u003cfigure id=\"attachment_13927739\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927739\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-1449774458-scaled-e1681408100103-800x533.jpg\" alt=\"A white man sits at a large drum kit, his mouth open in a scream, his drumsticks raised at his sides.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1449774458-scaled-e1681408100103-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1449774458-scaled-e1681408100103-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1449774458-scaled-e1681408100103-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1449774458-scaled-e1681408100103-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1449774458-scaled-e1681408100103-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1449774458-scaled-e1681408100103.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lars Ulrich performing with Metallica in Los Angeles, December 2022. \u003ccite>(Jeff Kravitz/Getty Images for P+ and MTV)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The album closes with “Inamorata,” a sprawling song that uncoils with snarling riffs as Hetfield sings, “Misery, she needs me/ Oh, but I need her more.” It clocks in at 11:10, making it one of Metallica’s longest songs.\u003c/p>\n\u003cp>“I hate long songs. I really do. I try to write shorter songs and Lars keeps making them longer. And that’s our kind of constant battle,” says Hetfield, who is a fan of Motörhead, Misfits and the Ramones.\u003c/p>\n\u003cp>[aside postid='arts_13848271']“I’m never concerned about what the number is at the end of the song as long as it does its purpose,” he adds. “We’re not out to prove anything and we’re not out to set records like, ‘Hey, this is our longest song ever. How great!’ You know, there’s no mission there whatsoever. The song wrote itself.”\u003c/p>\n\u003cp>Fans may hope to hear many of the new songs on the band’s upcoming European and North American stadium tour but not everyone will have the same experience. Metallica plans to hit cities with two concerts per stop and promise two completely different setlists.\u003c/p>\n\u003cp>“We kind of need to be challenged because we’ve been playing these songs for so long and we need to change them around to still make them interesting and fun for us,” says Hammett. Hetfield agrees: “It’s fun for us and hopefully fun for the fans. And if they want to come to both shows, that would be fantastic.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 AP. To see more, \u003ca href=\"https://apnews.com/\">visit AP\u003c/a>.\u003c/em>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Metallica’s ‘72 Seasons’ is out April 14, 2023. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"James Hetfield says: “In the words of Mister Rogers, ‘If it’s a human experience, we should be able to talk about it.’”","status":"publish","parent":0,"modified":1705005627,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1278},"headData":{"title":"New Metallica Album ‘72 Seasons’ is Dark and Taboo as Ever | KQED","description":"James Hetfield says: “In the words of Mister Rogers, ‘If it’s a human experience, we should be able to talk about it.’”","ogTitle":"Metallica Says New Album ‘72 Seasons’ is ‘Dark’ and ‘Taboo’ as Ever","ogDescription":"","ogImgId":"","twTitle":"Metallica Says New Album ‘72 Seasons’ is ‘Dark’ and ‘Taboo’ as Ever","twDescription":"","twImgId":"","socialTitle":"New Metallica Album ‘72 Seasons’ is Dark and Taboo as Ever %%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Mark Kennedy","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13927738/metallica-72-seasons-james-hetfield-lars-ulrich-share-writing-credits-new-album","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Zoom has been credited for keeping students and teachers connected, the judicial system working and fitness classes jumping. You can add a Metallica album to that list.\u003c/p>\n\u003cp>The hard rockers met weekly over their computers to stay connected during the pandemic, a standing get-together that eventually became a songwriting factory. The first step was an acoustic version of their song “Blackened.”\u003c/p>\n\u003cp>“It proved to us that, yes, we can at least do something remotely while we’re all still separated,” says guitarist Kirk Hammett. “That grew into trying to get riffs together for the new album though Zoom.”\u003c/p>\n\u003cp>Six or seven of those song sketches ended up on \u003cem>72 Seasons\u003c/em>, the band’s 12th full-length album, out Friday. It’s the sound of a band not slowing down, despite singer and rhythm guitarist James Hetfield and drummer Lars Ulrich turning 60 this year and Hammett already on the other side of that milestone. Bassist Robert Trujillo is the baby, at just 58.\u003c/p>\n\u003cfigure id=\"attachment_13927741\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927741\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-1243490028-1-scaled-e1681409022822-800x533.jpg\" alt=\"A smiling man with long braids, dressed in all black, onstage playing a bass.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1243490028-1-scaled-e1681409022822-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1243490028-1-scaled-e1681409022822-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1243490028-1-scaled-e1681409022822-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1243490028-1-scaled-e1681409022822-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1243490028-1-scaled-e1681409022822-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1243490028-1-scaled-e1681409022822.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Trujillo at the Global Citizen Festival in New York, September 2022. \u003ccite>(ANGELA WEISS/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It ended up working really fantastic,” says Hetfield. “I know what we do. I know what we do best. I know what we’ve done before. But there’s also an artist in me that wants to keep evolving and trying to do different stuff.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The album is a typical Metallica album — fast and furious with superb artistry — and lyrics that poke at the scab of pain and alienation. Yet there are some shoots of hope, as when Hetfield snarls, “Without darkness/ There’s no light.”\u003c/p>\n\u003cp>“Darkness is easy to talk about for me. So, so easy. And I wanted to offer a little more light in it,” says Hetfield, who has been frank about his battles with addiction.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13891674","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The title refers to the first 18 years of a person’s life and the album explores the cruelty of youth and the dangers of growing up.\u003c/p>\n\u003cp>“I wish I knew then what I know now — you can take that sentence, and apply it to the whole concept of this album,” says Hammett. “It’s a real provocative sort of concept that’s somewhat challenging and somewhat introspective.”\u003c/p>\n\u003cp>Noteworthy is “Screaming Suicide,” with a nasty inner voice taunting the singer. While far from the first time the band has tackled the issue, this time Hetfield drives into it, singing “Don’t ever speak my name/ Remember you’re to blame/ Keep me inside/ My name is suicide.”\u003c/p>\n\u003cp>“That was some delicate territory to navigate. But in the words of Mister Rogers, ‘If it’s a human experience, we should be able to talk about it,’” says Hetfield. “I’ve had those thoughts. Who hasn’t had those thoughts? If you say you haven’t, maybe you’re fooling yourself a little bit.”\u003c/p>\n\u003cfigure id=\"attachment_13927742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927742\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-11.06.45-AM-800x797.png\" alt=\"A yellow album cover depicting the charred remains of a broken crib surrounded by broken toys and musical instruments.\" width=\"800\" height=\"797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-11.06.45-AM-800x797.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-11.06.45-AM-1020x1016.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-11.06.45-AM-160x159.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-11.06.45-AM-768x765.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-11.06.45-AM.png 1052w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metallica’s ‘72 Seasons.’ \u003ccite>(Rhino/ Blackened Recordings)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hammett is full of admiration for Hetfield’s lyrics and hopes the songs can help listeners get a better understanding of themselves.\u003c/p>\n\u003cp>“The topics are dark. The topics are taboo. But what he’s doing is shining light on them. He’s bringing awareness to them and saying this is a real issue that people need to deal with.”\u003c/p>\n\u003cp>\u003cem>72 Seasons\u003c/em> also sees Hetfield experimenting with vocal effects and styles, like ghostlike chanting on “You Must Burn!” and an almost languid, glam vibe on “Crown of Barbed Wire.”\u003c/p>\n\u003cp>“As far as vocals go, I really wanted to just explore some different stuff. I have a fear that all the songs kind of end up sounding the same. So I like giving them a little more character with different things,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13875915","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Another change is that on \u003cem>72 Seasons\u003c/em>, Hammett and Trujillo were given writing credits on more than half the album, a return to the way previous albums came together, like “Death Magnetic” and “St. Anger.”\u003c/p>\n\u003cp>“All four guys were on the floor when we were writing, which is new for us. Usually it’s just Lars and I sitting out there hashing it out. It felt really great to have the energy of all four,” says Hetfield. “There’s a lot more democracy on this album. Lars and I gave up the steering wheel a little more than usual.”\u003c/p>\n\u003cp>Hammett agrees: “It was much more collaborative. The attitude was just more open. There is less limitations on everyone’s creativity and I think that shows.” His favorite song and riff on the album were supplied by Trujillo.\u003c/p>\n\u003cp>The band has lately gotten a popular bounce from TV show \u003cem>Stranger Things\u003c/em>. In the season four finale, fan-favorite character Eddie Munson heroically rocks out to Metallica’s “Master of Puppets” in the Upside Down, a sequence Hammett calls “the Metallica music video that was never made.” The song even reached No. 40 the Billboard Hot 100.\u003c/p>\n\u003cp>“\u003cem>Stranger Things\u003c/em> definitely took ‘Master of Puppets’ to another level and it feels like fans of ours that maybe grew up with this are now in positions of power,” says Hetfield. “You know, it’s like, ‘Hey, I’m a fan of Metallica. Why can’t we put this in there?’ So I’m super-grateful.”\u003c/p>\n\u003cfigure id=\"attachment_13927739\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927739\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-1449774458-scaled-e1681408100103-800x533.jpg\" alt=\"A white man sits at a large drum kit, his mouth open in a scream, his drumsticks raised at his sides.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1449774458-scaled-e1681408100103-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1449774458-scaled-e1681408100103-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1449774458-scaled-e1681408100103-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1449774458-scaled-e1681408100103-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1449774458-scaled-e1681408100103-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1449774458-scaled-e1681408100103.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lars Ulrich performing with Metallica in Los Angeles, December 2022. \u003ccite>(Jeff Kravitz/Getty Images for P+ and MTV)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The album closes with “Inamorata,” a sprawling song that uncoils with snarling riffs as Hetfield sings, “Misery, she needs me/ Oh, but I need her more.” It clocks in at 11:10, making it one of Metallica’s longest songs.\u003c/p>\n\u003cp>“I hate long songs. I really do. I try to write shorter songs and Lars keeps making them longer. And that’s our kind of constant battle,” says Hetfield, who is a fan of Motörhead, Misfits and the Ramones.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13848271","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I’m never concerned about what the number is at the end of the song as long as it does its purpose,” he adds. “We’re not out to prove anything and we’re not out to set records like, ‘Hey, this is our longest song ever. How great!’ You know, there’s no mission there whatsoever. The song wrote itself.”\u003c/p>\n\u003cp>Fans may hope to hear many of the new songs on the band’s upcoming European and North American stadium tour but not everyone will have the same experience. Metallica plans to hit cities with two concerts per stop and promise two completely different setlists.\u003c/p>\n\u003cp>“We kind of need to be challenged because we’ve been playing these songs for so long and we need to change them around to still make them interesting and fun for us,” says Hammett. Hetfield agrees: “It’s fun for us and hopefully fun for the fans. And if they want to come to both shows, that would be fantastic.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 AP. To see more, \u003ca href=\"https://apnews.com/\">visit AP\u003c/a>.\u003c/em>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Metallica’s ‘72 Seasons’ is out April 14, 2023. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13927738/metallica-72-seasons-james-hetfield-lars-ulrich-share-writing-credits-new-album","authors":["byline_arts_13927738"],"programs":["arts_140"],"categories":["arts_1","arts_11615","arts_69"],"tags":["arts_994","arts_1010","arts_585"],"featImg":"arts_13927740","label":"arts_140"},"arts_13875915":{"type":"posts","id":"arts_13875915","meta":{"index":"posts_1591205157","site":"arts","id":"13875915","score":null,"sort":[1583275807000]},"guestAuthors":[],"slug":"metallica-celebrates-new-namesake-a-blind-crustacean","title":"Metallica Celebrates New Namesake—an Eyeless, Colorless Crustacean","publishDate":1583275807,"format":"standard","headTitle":"Metallica Celebrates New Namesake—an Eyeless, Colorless Crustacean | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>San Francisco thrash legends Metallica have expressed delight over having a newly discovered species of crustacean named after them.\u003c/p>\n\u003cp>The Macrostylis Metallicola has a worm-like body, no eyes, no color and maxes out at a quarter of an inch long. It resides in the darkest depths of the Pacific, 16,000 feet below the ocean surface, and was discovered between Mexico and Hawaii by Dr. Torben Riehl and Dr. Bart De Smet of Ghent University, Belgium.\u003c/p>\n\u003cp>“The powerful music of Metallica has accompanied me the majority of my life,” \u003ca href=\"https://www.news18.com/news/buzz/macrostylis-metallicola-deep-sea-creature-discovered-in-pacific-ocean-named-after-metallica-2519015.html\" target=\"_blank\" rel=\"noopener noreferrer\">Riehl explained\u003c/a>. “I am thrilled to be able to give something back to the band by naming a new species after them!”\u003c/p>\n\u003cp>Here is the Macrostylis Metallicola in all of its glory, as presented in \u003cem>\u003ca href=\"https://peerj.com/articles/8621/\" target=\"_blank\" rel=\"noopener noreferrer\">PeerJ, The Journal of Life and Environmental Sciences\u003c/a>\u003c/em>:\u003c/p>\n\u003cfigure id=\"attachment_13875917\" class=\"wp-caption alignnone\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875917\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/fig-2-1x.jpg\" alt=\"“Macrostylis metallicola n. sp. holotype ♀ 879 (SMF 50941) digitized pencil drawings of habitus.”\" width=\"510\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/fig-2-1x.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/fig-2-1x-160x188.jpg 160w\" sizes=\"(max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">“Macrostylis metallicola n. sp. holotype ♀ 879 (SMF 50941) digitized pencil drawings of habitus.” \u003ccite>(PeerJ.com - DOI: 10.7717/peerj.8621/fig-2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Delightfully, Metallica’s resident artist came up with their own vivid rendition, as the quartet celebrated the special milestone. “Now that’s one metal crustacean!” the band wrote.\u003c/p>\n\u003cp>https://www.instagram.com/p/B9FQ6GqA02F/\u003c/p>\n\u003cp>Remarkably, this is not the first time science’s love for heavy metal has expressed itself through the naming of new organisms.\u003c/p>\n\u003cp>Researcher Mats Eriksson has \u003ca href=\"https://www.loudersound.com/news/extinct-monster-worm-named-after-cannibal-corpse-bassist\" target=\"_blank\" rel=\"noopener noreferrer\">named worms\u003c/a> after Motörhead frontman Lemmy Kilmister (the Kalloprion Kilmisteri), Cannibal Corpse bassist Alex Webster (the Websteroprion Armstrongi) and King Diamond (Kingnites Diamondi). Elsewhere, Megadeth frontman Dave Mustaine has \u003ca href=\"https://loudwire.com/new-species-tarantula-named-after-megadeth-dave-mustaine/\" target=\"_blank\" rel=\"noopener noreferrer\">a tarantula\u003c/a> (Aphonopelma Davemustainei) named for him, and Ozzy Osbourne has been honored with \u003ca href=\"https://www.nme.com/news/music/ozzy-osbourne-20-1222564\" target=\"_blank\" rel=\"noopener noreferrer\">a frog\u003c/a> that sounds like a bat (Dendropsophus Ozzyi).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The Macrostylis Metallicola has a worm-like body, no eyes, no color, and maxes out at a quarter of an inch long.","status":"publish","parent":0,"modified":1705021173,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":283},"headData":{"title":"Metallica Celebrates New Namesake—an Eyeless, Colorless Crustacean | KQED","description":"The Macrostylis Metallicola has a worm-like body, no eyes, no color, and maxes out at a quarter of an inch long.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13875915/metallica-celebrates-new-namesake-a-blind-crustacean","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco thrash legends Metallica have expressed delight over having a newly discovered species of crustacean named after them.\u003c/p>\n\u003cp>The Macrostylis Metallicola has a worm-like body, no eyes, no color and maxes out at a quarter of an inch long. It resides in the darkest depths of the Pacific, 16,000 feet below the ocean surface, and was discovered between Mexico and Hawaii by Dr. Torben Riehl and Dr. Bart De Smet of Ghent University, Belgium.\u003c/p>\n\u003cp>“The powerful music of Metallica has accompanied me the majority of my life,” \u003ca href=\"https://www.news18.com/news/buzz/macrostylis-metallicola-deep-sea-creature-discovered-in-pacific-ocean-named-after-metallica-2519015.html\" target=\"_blank\" rel=\"noopener noreferrer\">Riehl explained\u003c/a>. “I am thrilled to be able to give something back to the band by naming a new species after them!”\u003c/p>\n\u003cp>Here is the Macrostylis Metallicola in all of its glory, as presented in \u003cem>\u003ca href=\"https://peerj.com/articles/8621/\" target=\"_blank\" rel=\"noopener noreferrer\">PeerJ, The Journal of Life and Environmental Sciences\u003c/a>\u003c/em>:\u003c/p>\n\u003cfigure id=\"attachment_13875917\" class=\"wp-caption alignnone\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875917\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/fig-2-1x.jpg\" alt=\"“Macrostylis metallicola n. sp. holotype ♀ 879 (SMF 50941) digitized pencil drawings of habitus.”\" width=\"510\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/fig-2-1x.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/fig-2-1x-160x188.jpg 160w\" sizes=\"(max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">“Macrostylis metallicola n. sp. holotype ♀ 879 (SMF 50941) digitized pencil drawings of habitus.” \u003ccite>(PeerJ.com - DOI: 10.7717/peerj.8621/fig-2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Delightfully, Metallica’s resident artist came up with their own vivid rendition, as the quartet celebrated the special milestone. “Now that’s one metal crustacean!” the band wrote.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"B9FQ6GqA02F"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remarkably, this is not the first time science’s love for heavy metal has expressed itself through the naming of new organisms.\u003c/p>\n\u003cp>Researcher Mats Eriksson has \u003ca href=\"https://www.loudersound.com/news/extinct-monster-worm-named-after-cannibal-corpse-bassist\" target=\"_blank\" rel=\"noopener noreferrer\">named worms\u003c/a> after Motörhead frontman Lemmy Kilmister (the Kalloprion Kilmisteri), Cannibal Corpse bassist Alex Webster (the Websteroprion Armstrongi) and King Diamond (Kingnites Diamondi). Elsewhere, Megadeth frontman Dave Mustaine has \u003ca href=\"https://loudwire.com/new-species-tarantula-named-after-megadeth-dave-mustaine/\" target=\"_blank\" rel=\"noopener noreferrer\">a tarantula\u003c/a> (Aphonopelma Davemustainei) named for him, and Ozzy Osbourne has been honored with \u003ca href=\"https://www.nme.com/news/music/ozzy-osbourne-20-1222564\" target=\"_blank\" rel=\"noopener noreferrer\">a frog\u003c/a> that sounds like a bat (Dendropsophus Ozzyi).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13875915/metallica-celebrates-new-namesake-a-blind-crustacean","authors":["11242"],"categories":["arts_69","arts_75"],"tags":["arts_994","arts_1010","arts_2832","arts_973"],"featImg":"arts_13875916","label":"arts"},"arts_13874404":{"type":"posts","id":"arts_13874404","meta":{"index":"posts_1591205157","site":"arts","id":"13874404","score":null,"sort":[1580920051000]},"guestAuthors":[],"slug":"when-standup-comedy-meets-speed-metal","title":"When Standup Comedy Meets Speed Metal","publishDate":1580920051,"format":"standard","headTitle":"When Standup Comedy Meets Speed Metal | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>A big part of stand-up comedy is about being misunderstood. And part of being misunderstood often means blasting heavy, fast, loud music. So while on the surface, a collaboration album between comedian Brian Posehn and Anthrax guitarist Scott Ian may sound bizarre, it’s really a natural fit. Posehn, raised in Sonoma, is standup comedy’s resident expert on all things metal, a diehard fan who still scours message boards and record stores to stay up on new metal bands. And Ian’s always had a smile and a laugh that’s a little rare among his colleagues in bands like Slayer or Megadeth. With both of them now over 50, they’ve called their album \u003cem>Grandpa Metal\u003c/em>. Posehn and Ian appear together in a free mini-concert and album signing on Thursday, Feb. 13, at Amoeba Music in San Francisco.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Brian Posehn and Scott Ian team up for a free show at Amoeba Music in San Francisco.","status":"publish","parent":0,"modified":1705021356,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":3,"wordCount":152},"headData":{"title":"When Standup Comedy Meets Speed Metal | KQED","description":"Brian Posehn and Scott Ian team up for a free show at Amoeba Music in San Francisco.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"event","featuredImageType":"standard","startTime":1581591600,"endTime":1581667200,"startTimeString":"Feb. 13, 2020","venueName":"Amoeba Music","venueAddress":"1855 Haight St., San Francisco","eventLink":"https://www.amoeba.com/live-shows/upcoming/index.html","path":"/arts/13874404/when-standup-comedy-meets-speed-metal","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A big part of stand-up comedy is about being misunderstood. And part of being misunderstood often means blasting heavy, fast, loud music. So while on the surface, a collaboration album between comedian Brian Posehn and Anthrax guitarist Scott Ian may sound bizarre, it’s really a natural fit. Posehn, raised in Sonoma, is standup comedy’s resident expert on all things metal, a diehard fan who still scours message boards and record stores to stay up on new metal bands. And Ian’s always had a smile and a laugh that’s a little rare among his colleagues in bands like Slayer or Megadeth. With both of them now over 50, they’ve called their album \u003cem>Grandpa Metal\u003c/em>. Posehn and Ian appear together in a free mini-concert and album signing on Thursday, Feb. 13, at Amoeba Music in San Francisco.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13874404/when-standup-comedy-meets-speed-metal","authors":["185"],"programs":["arts_140"],"categories":["arts_968","arts_69"],"tags":["arts_994","arts_1871"],"featImg":"arts_13874402","label":"arts_140"},"arts_13864624":{"type":"posts","id":"arts_13864624","meta":{"index":"posts_1591205157","site":"arts","id":"13864624","score":null,"sort":[1566431746000]},"guestAuthors":[],"slug":"with-an-ear-to-the-underground-oakland-punk-and-metal-label-tankcrimes-thrives","title":"With an Ear to the Underground, Oakland Punk and Metal Label Tankcrimes Thrives","publishDate":1566431746,"format":"standard","headTitle":"With an Ear to the Underground, Oakland Punk and Metal Label Tankcrimes Thrives | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">Scotty “Karate” Heath wasn’t born in Oakland, but the impact he’s had on the city’s rich metal and punk DIY scene is incalculable. Seventeen years ago, he started a record label in his garage, and called it \u003ca href=\"https://www.tankcrimes.com/\" target=\"_blank\" rel=\"noopener\">Tankcrimes\u003c/a>. Heath had \u003c/span>\u003ca href=\"https://blowthescene.com/interviews/the-tankcrimes-interview-with-scotty-heath.html\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">previously\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> put out a couple of records under the name Controlled by Plague, which was an existing label project that he’d inherited from a friend, but 2005 saw the first actual Tankcrimes release, a seven-inch EP from Bay Area deathgrind unit Population Reduction.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The label started out of necessity; my own band needed a label and so did a handful of killer bands that had all began popping off around the Bay around the same time in the early 2000s,” Heath says. “It was always based within our local punk community. The manufacturing of the first half dozen or so releases were even funded by friends from the scene and some band members chipping in.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13864631\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864631\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/scotty-tankcrimes-800x1200.jpg\" alt=\"Through shrewd business moves and an ear for underground sounds, Scotty "Karate" Heath transformed his DIY label Tankcrimes into one of the Bay Area's most prominent punk and metal hubs.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scotty-tankcrimes.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scotty-tankcrimes-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scotty-tankcrimes-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Through shrewd business moves and an ear for underground sounds, Scotty “Karate” Heath transformed his DIY label Tankcrimes into one of the Bay Area’s most prominent punk and metal hubs. \u003ccite>(Rob Coons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the early 2000s (prior to the mid-2000s thrash metal boom that helped kick the region’s metal scene into overdrive) the Bay Area already had a massive DIY infrastructure, with venues like\u003c/span>\u003cspan style=\"font-weight: 400\"> Mission Records, Burnt Ramen and 924 Gilman, and labels like Prank, 625, Six Weeks and Alternative Tentacles. Mordam Distribution and and the fanzine Maximum Rocknroll kept the scene weird and vibrant. Heath’s endeavor came out of that same hardcore punk scene, but his eventual willingness to embrace metal too added new dimensions to his label’s output. Now, Tankcrimes is better known for its thrash and sludge than its d-beat, which is a little ironic given Heath’s own status as a lifelong punk.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“All this stuff was there and we were still existing below that point of interest—until we weren’t anymore,” Heath explains. “All the underground labels I aspired to be when I started have all either shut down or slowed down to one or less releases a year. I think I started at a time when it was easier to adapt and evolve with the way people listen to music.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That initial spark grew into a wildfire as Heath’s friends continue to make boundary-smashing, genre-crushing metal and punk music, and he continues to unleash them into the world. Now, nearly two decades since he decided to take a chance on releasing that first record on his own, Tankcrimes boasts a formidable catalogue (\u003c/span>\u003ca href=\"https://www.discogs.com/label/117444-Tankcrimes?sort=year&sort_order=desc&page=1\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Discogs\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> notes 142 releases) and has released some of the most crucial metal and punk releases of the past decade from \u003ca href=\"https://www.municipalwaste.net/\" target=\"_blank\" rel=\"noopener\">Municipal Waste\u003c/a>, \u003ca href=\"https://toxicholocaust.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Toxic Holocaust\u003c/a>, \u003ca href=\"https://www.facebook.com/INEPSYOFFICIAL/\" target=\"_blank\" rel=\"noopener\">Inepsy\u003c/a>, \u003ca href=\"https://maniaxe.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Ghoul\u003c/a>, \u003ca href=\"https://necrot.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Necrot\u003c/a>, \u003ca href=\"http://www.annihilationtime.net/history.html\" target=\"_blank\" rel=\"noopener\">Annihilation Time\u003c/a> and \u003ca href=\"https://ironreagan.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Iron Reagan\u003c/a> as well as reissued classics from genre giants like Spazz and Dystopia, which continue to sell like gangbusters.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sean McGrath (better known as Digestor, the masked vocalist/guitarist for splatter punks Ghoul) has been working with Heath since he released Ghoul’s 2010 album, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Transmission Zero\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. In McGrath’s estimation, the label’s forward-thinking approach to DIY and coveted, small-scale physical releases are the major drivers behind its success.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13864635\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864635\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/necrot-800x497.jpg\" alt=\"Oakland doom band Necrot performs at Tankcrimes' showcase at Eli's Mile High Club on Aug. 23. \" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-1020x633.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-1200x745.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland doom band Necrot performs at Tankcrimes’ showcase at Eli’s Mile High Club on Aug. 23. \u003ccite>(Chris Johnston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He has multiple bands on his label [like Ghoul and Necrot] that have had an album on the Billboard charts, and he’s just one guy running the whole show from his garage,” McGrath tells KQED over email. “And that success is partially because he’s been smart about taking advantage of new distribution and promotion channels, but also by paying attention to what people are listening to, and trying new things to see what works/abandoning the things that don’t.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tankcrimes’ typical run for an album is 1,000 CDs and 1,000 vinyl LPs (both formats typically sell out, Heath says), and he’s also embraced streaming in a big way, with most of the label’s releases available as pay-what-you-want downloads. His top sellers include the 2012 split EP between Municipal Waste and Toxic Holocaust, which he still struggles to keep in stock, as well as the aforementioned immensely popular reissues from Spazz and Dystopia. According to him, the defunct Bay Area crusty sludge outfit\u003c/span>\u003cspan style=\"font-weight: 400\"> “is our most popular band on streaming services as well, by far.”\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1137428150/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He’s got that DIY punk ethos which is deeply held (he still rides around on a skateboard flyering light poles when he promotes a show), but he’s really focused on how things are done now, how they’ll be done in the future, and how that punk ethos can guide him there,” continues McGrath, whose own band’s albums are repressed every year. [aside postid='arts_13848663']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Still Tankcrimes remains a family affair, and Heath counts himself lucky to be able to surround himself with friends for a living. “I don’t work for money, I work for growth,” he explains. “While I am talking about fan base there, it’s also the growth of the relationships, and growth as artists, and personal growth as individuals. When we say, ‘Tankcrimes Family,’ it’s real. The core of us, we have each others backs, we know each other’s secrets.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ami Lawless, the current vocalist for thrash punks Cliterati and a longtime bandmate of Heath’s in the crossover thrash project Vöetsek, describes him as “the little brother [their] parents never gave [them.]” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13864634\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864634\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/cliterati-800x533.jpg\" alt=\"Portland band Cliterati bring their queer-forward punk to the Tankcrimes showcase at Eli's Mile High Club on Aug. 23.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Portland band Cliterati bring their queer-forward punk to the Tankcrimes showcase at Eli’s Mile High Club on Aug. 23. \u003ccite>(Angelo Rossi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We know what to expect from each other and share a familial love and respect that goes deeper than a traditional band/label working relationship,” they explain (Lawless uses they/them pronouns). “What ya see is definitely what ya get, one of the most genuinely nice guys in the music business who strives to help the bands on his label as much as he can.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Continuing to build that strong sense of community is another important ingredient in Tankcrimes’ kitchen-sink recipe for underground achievement, and is something Heath takes seriously. He’s well-aware that the label’s growth has been a direct result of the relationships he’s built, and isn’t about to take that fact for granted.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There is such an insane history in underground music [in the Bay] so I really want to do my part,” he explains. “I can only hope people see what we’re doing here as part of that lineage. From Dead Kennedys to Rancid, from Death Angel to Neurosis, from Too Short to Hieroglyphics to Lil B. There are many micro communities in the Bay existing under the banners of punk and metal. While we are just one of them, there is a certain energy at our shows that stems from the family-style support team we’ve put together, and the people can feel it.” \u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3650696870/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Heath has been booking metal and punk shows for as long as he’s lived in the Bay, but in recent years, Tankcrimes has also moved into the festival space with multi-day events like Brainsqueeze, as well as stacked, one-off ragers like the upcoming\u003c/span>\u003ca href=\"https://www.eventbrite.com/e/tankcrimes-takeover-of-elis-necrot-kicker-cliterati-deathgrave-tickets-67329160331\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\"> Tankcrimes Takeover\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at Eli’s Mile High Club on Aug. 23.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Heath’s advice to other young punks or heshers who want to emulate Tankcrimes’ ongoing DIY success story is straightforward, but clearly comes from a place of compassion—much like his overall approach to the music business. “The number one thing that will hold a person back is fear,” Heath says. “Do not be afraid of what people will say. Do not be afraid of hard work. Do not be afraid of failure. Do not be afraid of success. Do not be afraid to ask for help. Do not be afraid to say yes.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Small-batch physical releases and savvy moves in the streaming arena propelled the label's 17 years of success. ","status":"publish","parent":0,"modified":1705022274,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=1137428150/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=3650696870/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1425},"headData":{"title":"With an Ear to the Underground, Oakland Punk and Metal Label Tankcrimes Thrives | KQED","description":"Small-batch physical releases and savvy moves in the streaming arena propelled the label's 17 years of success. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Kim Kelly","templateType":"standard","featuredImageType":"standard","path":"/arts/13864624/with-an-ear-to-the-underground-oakland-punk-and-metal-label-tankcrimes-thrives","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Scotty “Karate” Heath wasn’t born in Oakland, but the impact he’s had on the city’s rich metal and punk DIY scene is incalculable. Seventeen years ago, he started a record label in his garage, and called it \u003ca href=\"https://www.tankcrimes.com/\" target=\"_blank\" rel=\"noopener\">Tankcrimes\u003c/a>. Heath had \u003c/span>\u003ca href=\"https://blowthescene.com/interviews/the-tankcrimes-interview-with-scotty-heath.html\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">previously\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> put out a couple of records under the name Controlled by Plague, which was an existing label project that he’d inherited from a friend, but 2005 saw the first actual Tankcrimes release, a seven-inch EP from Bay Area deathgrind unit Population Reduction.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The label started out of necessity; my own band needed a label and so did a handful of killer bands that had all began popping off around the Bay around the same time in the early 2000s,” Heath says. “It was always based within our local punk community. The manufacturing of the first half dozen or so releases were even funded by friends from the scene and some band members chipping in.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13864631\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864631\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/scotty-tankcrimes-800x1200.jpg\" alt=\"Through shrewd business moves and an ear for underground sounds, Scotty "Karate" Heath transformed his DIY label Tankcrimes into one of the Bay Area's most prominent punk and metal hubs.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scotty-tankcrimes.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scotty-tankcrimes-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scotty-tankcrimes-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Through shrewd business moves and an ear for underground sounds, Scotty “Karate” Heath transformed his DIY label Tankcrimes into one of the Bay Area’s most prominent punk and metal hubs. \u003ccite>(Rob Coons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the early 2000s (prior to the mid-2000s thrash metal boom that helped kick the region’s metal scene into overdrive) the Bay Area already had a massive DIY infrastructure, with venues like\u003c/span>\u003cspan style=\"font-weight: 400\"> Mission Records, Burnt Ramen and 924 Gilman, and labels like Prank, 625, Six Weeks and Alternative Tentacles. Mordam Distribution and and the fanzine Maximum Rocknroll kept the scene weird and vibrant. Heath’s endeavor came out of that same hardcore punk scene, but his eventual willingness to embrace metal too added new dimensions to his label’s output. Now, Tankcrimes is better known for its thrash and sludge than its d-beat, which is a little ironic given Heath’s own status as a lifelong punk.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“All this stuff was there and we were still existing below that point of interest—until we weren’t anymore,” Heath explains. “All the underground labels I aspired to be when I started have all either shut down or slowed down to one or less releases a year. I think I started at a time when it was easier to adapt and evolve with the way people listen to music.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That initial spark grew into a wildfire as Heath’s friends continue to make boundary-smashing, genre-crushing metal and punk music, and he continues to unleash them into the world. Now, nearly two decades since he decided to take a chance on releasing that first record on his own, Tankcrimes boasts a formidable catalogue (\u003c/span>\u003ca href=\"https://www.discogs.com/label/117444-Tankcrimes?sort=year&sort_order=desc&page=1\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Discogs\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> notes 142 releases) and has released some of the most crucial metal and punk releases of the past decade from \u003ca href=\"https://www.municipalwaste.net/\" target=\"_blank\" rel=\"noopener\">Municipal Waste\u003c/a>, \u003ca href=\"https://toxicholocaust.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Toxic Holocaust\u003c/a>, \u003ca href=\"https://www.facebook.com/INEPSYOFFICIAL/\" target=\"_blank\" rel=\"noopener\">Inepsy\u003c/a>, \u003ca href=\"https://maniaxe.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Ghoul\u003c/a>, \u003ca href=\"https://necrot.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Necrot\u003c/a>, \u003ca href=\"http://www.annihilationtime.net/history.html\" target=\"_blank\" rel=\"noopener\">Annihilation Time\u003c/a> and \u003ca href=\"https://ironreagan.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Iron Reagan\u003c/a> as well as reissued classics from genre giants like Spazz and Dystopia, which continue to sell like gangbusters.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sean McGrath (better known as Digestor, the masked vocalist/guitarist for splatter punks Ghoul) has been working with Heath since he released Ghoul’s 2010 album, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Transmission Zero\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. In McGrath’s estimation, the label’s forward-thinking approach to DIY and coveted, small-scale physical releases are the major drivers behind its success.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13864635\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864635\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/necrot-800x497.jpg\" alt=\"Oakland doom band Necrot performs at Tankcrimes' showcase at Eli's Mile High Club on Aug. 23. \" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-1020x633.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-1200x745.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland doom band Necrot performs at Tankcrimes’ showcase at Eli’s Mile High Club on Aug. 23. \u003ccite>(Chris Johnston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He has multiple bands on his label [like Ghoul and Necrot] that have had an album on the Billboard charts, and he’s just one guy running the whole show from his garage,” McGrath tells KQED over email. “And that success is partially because he’s been smart about taking advantage of new distribution and promotion channels, but also by paying attention to what people are listening to, and trying new things to see what works/abandoning the things that don’t.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tankcrimes’ typical run for an album is 1,000 CDs and 1,000 vinyl LPs (both formats typically sell out, Heath says), and he’s also embraced streaming in a big way, with most of the label’s releases available as pay-what-you-want downloads. His top sellers include the 2012 split EP between Municipal Waste and Toxic Holocaust, which he still struggles to keep in stock, as well as the aforementioned immensely popular reissues from Spazz and Dystopia. According to him, the defunct Bay Area crusty sludge outfit\u003c/span>\u003cspan style=\"font-weight: 400\"> “is our most popular band on streaming services as well, by far.”\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1137428150/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He’s got that DIY punk ethos which is deeply held (he still rides around on a skateboard flyering light poles when he promotes a show), but he’s really focused on how things are done now, how they’ll be done in the future, and how that punk ethos can guide him there,” continues McGrath, whose own band’s albums are repressed every year. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13848663","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Still Tankcrimes remains a family affair, and Heath counts himself lucky to be able to surround himself with friends for a living. “I don’t work for money, I work for growth,” he explains. “While I am talking about fan base there, it’s also the growth of the relationships, and growth as artists, and personal growth as individuals. When we say, ‘Tankcrimes Family,’ it’s real. The core of us, we have each others backs, we know each other’s secrets.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ami Lawless, the current vocalist for thrash punks Cliterati and a longtime bandmate of Heath’s in the crossover thrash project Vöetsek, describes him as “the little brother [their] parents never gave [them.]” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13864634\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864634\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/cliterati-800x533.jpg\" alt=\"Portland band Cliterati bring their queer-forward punk to the Tankcrimes showcase at Eli's Mile High Club on Aug. 23.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Portland band Cliterati bring their queer-forward punk to the Tankcrimes showcase at Eli’s Mile High Club on Aug. 23. \u003ccite>(Angelo Rossi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We know what to expect from each other and share a familial love and respect that goes deeper than a traditional band/label working relationship,” they explain (Lawless uses they/them pronouns). “What ya see is definitely what ya get, one of the most genuinely nice guys in the music business who strives to help the bands on his label as much as he can.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Continuing to build that strong sense of community is another important ingredient in Tankcrimes’ kitchen-sink recipe for underground achievement, and is something Heath takes seriously. He’s well-aware that the label’s growth has been a direct result of the relationships he’s built, and isn’t about to take that fact for granted.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There is such an insane history in underground music [in the Bay] so I really want to do my part,” he explains. “I can only hope people see what we’re doing here as part of that lineage. From Dead Kennedys to Rancid, from Death Angel to Neurosis, from Too Short to Hieroglyphics to Lil B. There are many micro communities in the Bay existing under the banners of punk and metal. While we are just one of them, there is a certain energy at our shows that stems from the family-style support team we’ve put together, and the people can feel it.” \u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3650696870/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Heath has been booking metal and punk shows for as long as he’s lived in the Bay, but in recent years, Tankcrimes has also moved into the festival space with multi-day events like Brainsqueeze, as well as stacked, one-off ragers like the upcoming\u003c/span>\u003ca href=\"https://www.eventbrite.com/e/tankcrimes-takeover-of-elis-necrot-kicker-cliterati-deathgrave-tickets-67329160331\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\"> Tankcrimes Takeover\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at Eli’s Mile High Club on Aug. 23.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Heath’s advice to other young punks or heshers who want to emulate Tankcrimes’ ongoing DIY success story is straightforward, but clearly comes from a place of compassion—much like his overall approach to the music business. “The number one thing that will hold a person back is fear,” Heath says. “Do not be afraid of what people will say. Do not be afraid of hard work. Do not be afraid of failure. Do not be afraid of success. Do not be afraid to ask for help. Do not be afraid to say yes.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13864624/with-an-ear-to-the-underground-oakland-punk-and-metal-label-tankcrimes-thrives","authors":["byline_arts_13864624"],"categories":["arts_69"],"tags":["arts_2546","arts_1118","arts_994"],"featImg":"arts_13864629","label":"arts"},"arts_13864252":{"type":"posts","id":"arts_13864252","meta":{"index":"posts_1591205157","site":"arts","id":"13864252","score":null,"sort":[1566233780000]},"guestAuthors":[],"slug":"watch-the-untold-story-of-bay-area-thrash-metal-in-murder-in-the-front-row","title":"Watch the Untold Story of Bay Area Thrash Metal in 'Murder in the Front Row'","publishDate":1566233780,"format":"standard","headTitle":"Watch the Untold Story of Bay Area Thrash Metal in ‘Murder in the Front Row’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The hippies had the \u003ca href=\"https://www.kqed.org/arts/program/summer-of-love\" target=\"_blank\" rel=\"noopener\">Summer of Love\u003c/a> in ’69, the punks had the \u003ca href=\"https://www.theguardian.com/music/2017/feb/23/punk-rock-san-francisco-jim-jocoy-order-of-appearance\" target=\"_blank\" rel=\"noopener\">“Summer of Hate”\u003c/a> in ’79, and in the early-1980s, the metalheads crashed in and took over. Of all the music scenes the Bay Area spawned over the past half-century, thrash metal has proven to be simultaneously one of the most prominent and one of the most publicly unsung. The new documentary \u003ca href=\"https://mitfr.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Murder in the Front Row\u003c/em>\u003c/a> is here to change that.\u003c/p>\n\u003cp>Having premiered to screaming, sold-out audiences at \u003ca href=\"https://prod3.agileticketing.net/websales/pages/list.aspx?epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&view=tiles3&page=2&\">SF Doc Fest\u003c/a>, this love letter to Metallica, Megadeth, Slayer and many more—based on a \u003ca href=\"https://www.amazon.com/Murder-Front-Row-Thrash-Epicenter/dp/1935950037/ref=sr_1_1?crid=G2AG0X0C3AH5&keywords=murder+in+the+front+row+book&qid=1566119469&s=gateway&sprefix=murder+in+the+front+row%2Caps%2C242&sr=8-1\" target=\"_blank\" rel=\"noopener\">2012 book\u003c/a> of the same name by Harald Oimoen and Brian Lew—is returning for three September screenings: at San Francisco’s Alamo Drafthouse and Roxie Theater, as well as Oakland’s Regal Jack London.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LiEQF2aXoY4\u003c/p>\n\u003cp>Filmmaker and director Adam Dubin—previously responsible for the Beastie Boys music video “\u003ca href=\"https://www.youtube.com/watch?v=eBShN8qT4lk\" target=\"_blank\" rel=\"noopener\">(You Gotta) Fight for Your Right (to Party!)\u003c/a>” and the Metallica documentary \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/A_Year_and_a_Half_in_the_Life_of_Metallica\" target=\"_blank\" rel=\"noopener\">A Year and a Half in the Life of Metallica\u003c/a>\u003c/em>—spent three years putting the film together, and was stunned by the degree of emotion present in the final product. “This music … it’s very harsh, very fast music,” \u003ca href=\"https://www.youtube.com/watch?v=W2JLdznlIOM\" target=\"_blank\" rel=\"noopener\">Dubin told KPIX\u003c/a> before the premiere, “but what was surprising and what I think comes through in the film is that there’s actually a warm, fuzzy, beating heart in the scene. The fans [and] musicians all kind of took care of each other.”\u003c/p>\n\u003cp>The movie, which takes its name from the 1985 Exodus track “\u003ca href=\"https://www.youtube.com/watch?v=tTdGnKB8j7U\" target=\"_blank\" rel=\"noopener\">Bonded By Blood\u003c/a>,” combines rare footage, extensive interviews, vintage photos and new animation to tell the expansive story.\u003c/p>\n\u003cfigure id=\"attachment_13864423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg\" alt=\"Art by M. Wartella, based on "classic hand-drawn metal posters," as featured in the documentary, 'Murder in the Front Row.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art by M. Wartella, based on “classic hand-drawn metal posters,” as featured in the documentary, ‘Murder in the Front Row.’ \u003ccite>(YouTube/'Murder in the Front Row')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There were so many personal stories from Bay Area legends here, that Adam needed a way to bring all these tales to life,” animation director \u003ca href=\"https://ackxhpaez.com/animation.html\" target=\"_blank\" rel=\"noopener\">M. Wartella\u003c/a> told KQED Arts. “To give you one example, there were people like this guy Ron “Skitchie” Burch, who was kind of a metal Pied Piper in the ’80s on Telegraph Avenue. He introduced all the key players to each other—they’d hang out listening to the Scorpions and Motörhead on Strawberry Hill in Golden Gate Park—but there weren’t a lot of photos of him. So animating a drawing of him coming to life was kind of magical and a pure honor.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Murder in the Front Row\u003c/em> promises to capture the complexities of this underground scene as it scrabbled its way together, expanded and exploded, and eventually found its way to an international audience, changing heavy metal forever. “You’ll laugh, you’ll cry, you’ll definitely become an Exodus fan,” M. Wartella smiles. “This is one of those films that is in a super-limited run too. So if it’s playing anywhere within a 120-mile radius of you? You have to be there.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>—\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Adam Dubin's documentary about the birth of thrash metal in the 1980s Bay Area returns for three screenings. ","status":"publish","parent":0,"modified":1705022296,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":560},"headData":{"title":"Watch the Untold Story of Bay Area Thrash Metal in 'Murder in the Front Row' | KQED","description":"Adam Dubin's documentary about the birth of thrash metal in the 1980s Bay Area returns for three screenings. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"event","featuredImageType":"standard","startTime":1568271600,"endTime":1569564000,"startTimeString":"Sept. 12, 14 and 26","venueName":"Various Theaters","venueAddress":"San Francisco and Oakland","eventLink":"https://mitfr.com/see-the-film","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13864252/watch-the-untold-story-of-bay-area-thrash-metal-in-murder-in-the-front-row","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The hippies had the \u003ca href=\"https://www.kqed.org/arts/program/summer-of-love\" target=\"_blank\" rel=\"noopener\">Summer of Love\u003c/a> in ’69, the punks had the \u003ca href=\"https://www.theguardian.com/music/2017/feb/23/punk-rock-san-francisco-jim-jocoy-order-of-appearance\" target=\"_blank\" rel=\"noopener\">“Summer of Hate”\u003c/a> in ’79, and in the early-1980s, the metalheads crashed in and took over. Of all the music scenes the Bay Area spawned over the past half-century, thrash metal has proven to be simultaneously one of the most prominent and one of the most publicly unsung. The new documentary \u003ca href=\"https://mitfr.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Murder in the Front Row\u003c/em>\u003c/a> is here to change that.\u003c/p>\n\u003cp>Having premiered to screaming, sold-out audiences at \u003ca href=\"https://prod3.agileticketing.net/websales/pages/list.aspx?epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&view=tiles3&page=2&\">SF Doc Fest\u003c/a>, this love letter to Metallica, Megadeth, Slayer and many more—based on a \u003ca href=\"https://www.amazon.com/Murder-Front-Row-Thrash-Epicenter/dp/1935950037/ref=sr_1_1?crid=G2AG0X0C3AH5&keywords=murder+in+the+front+row+book&qid=1566119469&s=gateway&sprefix=murder+in+the+front+row%2Caps%2C242&sr=8-1\" target=\"_blank\" rel=\"noopener\">2012 book\u003c/a> of the same name by Harald Oimoen and Brian Lew—is returning for three September screenings: at San Francisco’s Alamo Drafthouse and Roxie Theater, as well as Oakland’s Regal Jack London.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LiEQF2aXoY4'\n title='//www.youtube.com/embed/LiEQF2aXoY4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Filmmaker and director Adam Dubin—previously responsible for the Beastie Boys music video “\u003ca href=\"https://www.youtube.com/watch?v=eBShN8qT4lk\" target=\"_blank\" rel=\"noopener\">(You Gotta) Fight for Your Right (to Party!)\u003c/a>” and the Metallica documentary \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/A_Year_and_a_Half_in_the_Life_of_Metallica\" target=\"_blank\" rel=\"noopener\">A Year and a Half in the Life of Metallica\u003c/a>\u003c/em>—spent three years putting the film together, and was stunned by the degree of emotion present in the final product. “This music … it’s very harsh, very fast music,” \u003ca href=\"https://www.youtube.com/watch?v=W2JLdznlIOM\" target=\"_blank\" rel=\"noopener\">Dubin told KPIX\u003c/a> before the premiere, “but what was surprising and what I think comes through in the film is that there’s actually a warm, fuzzy, beating heart in the scene. The fans [and] musicians all kind of took care of each other.”\u003c/p>\n\u003cp>The movie, which takes its name from the 1985 Exodus track “\u003ca href=\"https://www.youtube.com/watch?v=tTdGnKB8j7U\" target=\"_blank\" rel=\"noopener\">Bonded By Blood\u003c/a>,” combines rare footage, extensive interviews, vintage photos and new animation to tell the expansive story.\u003c/p>\n\u003cfigure id=\"attachment_13864423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg\" alt=\"Art by M. Wartella, based on "classic hand-drawn metal posters," as featured in the documentary, 'Murder in the Front Row.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art by M. Wartella, based on “classic hand-drawn metal posters,” as featured in the documentary, ‘Murder in the Front Row.’ \u003ccite>(YouTube/'Murder in the Front Row')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There were so many personal stories from Bay Area legends here, that Adam needed a way to bring all these tales to life,” animation director \u003ca href=\"https://ackxhpaez.com/animation.html\" target=\"_blank\" rel=\"noopener\">M. Wartella\u003c/a> told KQED Arts. “To give you one example, there were people like this guy Ron “Skitchie” Burch, who was kind of a metal Pied Piper in the ’80s on Telegraph Avenue. He introduced all the key players to each other—they’d hang out listening to the Scorpions and Motörhead on Strawberry Hill in Golden Gate Park—but there weren’t a lot of photos of him. So animating a drawing of him coming to life was kind of magical and a pure honor.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Murder in the Front Row\u003c/em> promises to capture the complexities of this underground scene as it scrabbled its way together, expanded and exploded, and eventually found its way to an international audience, changing heavy metal forever. “You’ll laugh, you’ll cry, you’ll definitely become an Exodus fan,” M. Wartella smiles. “This is one of those films that is in a super-limited run too. So if it’s playing anywhere within a 120-mile radius of you? You have to be there.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>—\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13864252/watch-the-untold-story-of-bay-area-thrash-metal-in-murder-in-the-front-row","authors":["11242"],"programs":["arts_140"],"categories":["arts_74","arts_69","arts_75"],"tags":["arts_13672","arts_1118","arts_994","arts_1010","arts_905"],"featImg":"arts_13864442","label":"arts_140"},"arts_13848271":{"type":"posts","id":"arts_13848271","meta":{"index":"posts_1591205157","site":"arts","id":"13848271","score":null,"sort":[1546896368000]},"guestAuthors":[],"slug":"how-a-mongolian-heavy-metal-band-got-millions-of-youtube-views","title":"How A Mongolian Heavy Metal Band Got Millions Of YouTube Views","publishDate":1546896368,"format":"standard","headTitle":"How A Mongolian Heavy Metal Band Got Millions Of YouTube Views | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>A band from Mongolia that blends the screaming guitars of heavy metal and traditional Mongolian guttural singing has picked up 7 million views for its two videos.\u003c/p>\n\u003cp>Leather jackets, skull rings and bandannas alongside intricately carved Mongolian horsehead fiddles are just some of the images in the first two music videos the Mongolian band The Hu released on YouTube this fall. Excited listeners from around the globe have posted comments like: “This makes me want to ride a horse and shoot people with a bow” and “This sounds like ancient mongol rock of 1000 b.c. Really badass!” (sic)\u003c/p>\n\u003cp>https://youtu.be/v4xZUr0BEfE\u003c/p>\n\u003cp>And yet what The Hu is doing, while new, comes out of a tradition that began several decades ago when Mongolia transitioned from a satellite of the Soviet Union to a democracy.\u003c/p>\n\u003cp>As the Soviet Union crumbled and Western influence flooded in during the late 1980s and early 1990s, Mongolian musicians chose to preserve Mongolian culture while also adapting new influences, explains University of Chicago ethnomusicology doctoral student \u003ca href=\"http://chicago.academia.edu/ThaleaStokes\">Thalea Stokes.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It is something they continue to do today, says Stokes, who spoke via Skype from Inner Mongolia where she is studying Mongolian hip-hop. That hip-hop scene has a similar background. Although hip-hop is a relatively new import, Mongolians have rapidly adapted it, mixing “fierce ethnic pride and adventurous dancing” with social and political critique, according to Stokes’ research.\u003c/p>\n\u003cp>“Mongolians are not just taking elements from Western music and just copying and pasting,” says Stokes. Instead, they’re using some of these elements and making their own authentic music.\u003c/p>\n\u003cp>“So it’s not rock music performed by Mongolians. It’s Mongolian rock music,” she says.\u003c/p>\n\u003cp>Mongolian rock combines traditional Mongolian instruments, like a horsehead fiddle (\u003cem>morin khuur\u003c/em>), Jew’s harp (\u003cem>tumur khuur\u003c/em>) and Mongolian guitar (\u003cem>tovshuur\u003c/em>) with the pounding bass and drums of rock.\u003c/p>\n\u003cp>[contextly_sidebar id=”JxRWoeCTCMYbRutfZi5Qyvdn5DJiKkPu”]\u003c/p>\n\u003cp>It also involves singing in a guttural way known as throat singing while throwing heads back and forth reminiscent of the headbanging of ’80s heavy metal bands like Metallica. Those who study Mongolian music believe one reason The Hu has proved so popular with outsiders is this combining of modern and historical and Eastern and Western elements.\u003c/p>\n\u003cp>The Hu call their style “hunnu rock” — from the Mongolian root word for human being: “hu.” The band spent seven years putting together its first album, which it expects to release this spring. They plan to call it \u003cem>Gereg\u003c/em>, the name for a diplomatic passport used during the time of Genghis Khan. For the album, the idea was to find, study and incorporate as much of Mongolia’s musical culture as they could into a rock style, says the band’s 52-year-old producer and songwriter, B. Dashdondog, who goes by “Dashka.”\u003c/p>\n\u003cp>Mongolian musical culture is tied up with their pastoral way of life. The two-stringed horsehead fiddle is shaped to resemble a horse and includes the carving of a horse head and strings and bow made of horsehair. It produces a sound similar to a violin and can be used to imitate the sound of a herd of horses. In throat singing, associated with pastoral herders in Central Asia, the singer produces a low constant sort of drone at the same time as a series of higher tones.\u003c/p>\n\u003cp>“We wanted to come up with our own thing that we can offer to this big music family. Make something new,” says Dashka, who spoke through a translator via Skype.\u003c/p>\n\u003cp>It is not just their instruments that incorporate traditional elements. In the band’s first song, “Yuve Yuve Yu” (What’s going on?), they mention Genghis Khan and how he was fated to bring nations together. The video begins with images of people inside playing video games, watching television and looking at their phones. A door is opened and the band’s four members step into different natural settings: cliffs, desert, forest and lake. The message they hope to convey through their lyrics and imagery is that people need to pay attention to nature and their history and culture, explains lead singer TS. Galbadrakh, known as “Gala,” 29.\u003c/p>\n\u003cp>[contextly_sidebar id=”s8PTLJLutxF2ttSG4KdvJ7OIWfAqSLW7″]\u003c/p>\n\u003cp>It is a familiar message to \u003ca href=\"https://www.anthropology.wisc.edu/staff/hutchins-kip/\">Kip Hutchins\u003c/a>, a doctoral student in cultural anthropology at the University of Wisconsin. Lines about neglecting their ancestors — like “taking our great Mongol ancestors names in vain” — are almost exactly what was sung in the late 1980s during the transition to democracy, says Hutchins. It was then that rock became popular as a form of political protest. Soon after, Mongolians started to form folk rock and folk jazz ensembles. Band members tended to be trained in conservatories on traditional instruments.\u003c/p>\n\u003cp>The four members of The Hu all learned to play traditional Mongolian instruments at the Mongolian State conservatory. The oldest in the group, G. Nyamjantsan, who goes by “Jaya,” 35, still teaches at the conservatory. N. Temuulen aka “Temka,” 28, who plays the Mongolian guitar, says their international popularity was something they expected — but not in the millions.\u003c/p>\n\u003cp>“When we do this, we try to spiritually express this beautiful thing about Mongolian music. We think we will talk to everyone’s soul through our music,” says Temka through a translator. “But we didn’t expect this fast, people just popping up everywhere.”\u003c/p>\n\u003cp>They aren’t quite sure how it happened. Hutchins has an idea. He believes part of the appeal of bands like The Hu is the way he believes the story of Mongolia has been written in the West. Nomadism and horse culture has been romanticized, and the emphasis on freedom and heroes tends to appeal to the stereotypical male heavy metal fan.\u003c/p>\n\u003cp>“There is a kind of exoticism to Mongolia,” says Hutchins. Mongolia “is at once a community and a culture that is part of Asia and Europe at the same time.”\u003c/p>\n\u003cp>The Hu is not the only Mongolian band that has attracted recent international attention. There is the folk rock band Altan Urag, whose music was featured in the 2007 film \u003cem>Mongol\u003c/em> and in the Netflix show \u003cem>Marco Polo,\u003c/em> and the Inner Mongolian Hanggai Band.\u003c/p>\n\u003cp>Ethnomusicologist Charlotte D’Evelyn sees The Hu as trying to bring back traditions while also modernizing. For her, it is as if the band is saying, “We’re still modern and we’re living in the modern world. But we’re using this music to revive some kind of nationalistic cultural identity.”\u003c/p>\n\u003cp>Hutchins puts it another way.\u003c/p>\n\u003cp>“The Hu is obviously interested in teaching a global community about Mongolian culture as much as they’re interested in creating something Mongol.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://katyacengel.com/\">Katya Cengel\u003c/a>\u003cem> is the author of \u003c/em>\u003ca href=\"https://www.amazon.com/Exiled-Killing-Fields-Cambodia-California-ebook/dp/B07C853GF9\">Exiled: From the Killing Fields of Cambodia to California and Back\u003cem>.\u003c/em>\u003c/a>\u003cem> She reported from Mongolia in 2017 on a fellowship from the \u003c/em>\u003ca href=\"https://internationalreportingproject.org/\">International Reporting Project (IRP)\u003c/a>\u003cem>. You can find her on Twitter \u003c/em>\u003ca href=\"https://twitter.com/kcengel\">@kcengel\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+A+Mongolian+Heavy+Metal+Band+Got+Millions+Of+YouTube+Views&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"All it took for The Hu to have an Internet breakthrough was a dramatic video and screaming guitars — plus a horsehead fiddle and throat singing.","status":"publish","parent":0,"modified":1705026790,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1216},"headData":{"title":"How A Mongolian Heavy Metal Band Got Millions Of YouTube Views | KQED","description":"All it took for The Hu to have an Internet breakthrough was a dramatic video and screaming guitars — plus a horsehead fiddle and throat singing.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Katya Cengel","nprImageAgency":"#HUNNUROCK via YouTube/Screengrab by NPR","nprStoryId":"680528912","nprApiLink":"http://api.npr.org/query?id=680528912&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/sections/goatsandsoda/2019/01/05/680528912/how-a-mongolian-heavy-metal-band-got-millions-of-youtube-views?ft=nprml&f=680528912","nprRetrievedStory":"1","nprPubDate":"Sat, 05 Jan 2019 15:34:00 -0500","nprStoryDate":"Sat, 05 Jan 2019 07:00:20 -0500","nprLastModifiedDate":"Sat, 05 Jan 2019 15:34:29 -0500","path":"/arts/13848271/how-a-mongolian-heavy-metal-band-got-millions-of-youtube-views","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A band from Mongolia that blends the screaming guitars of heavy metal and traditional Mongolian guttural singing has picked up 7 million views for its two videos.\u003c/p>\n\u003cp>Leather jackets, skull rings and bandannas alongside intricately carved Mongolian horsehead fiddles are just some of the images in the first two music videos the Mongolian band The Hu released on YouTube this fall. Excited listeners from around the globe have posted comments like: “This makes me want to ride a horse and shoot people with a bow” and “This sounds like ancient mongol rock of 1000 b.c. Really badass!” (sic)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/v4xZUr0BEfE'\n title='//www.youtube.com/embed/v4xZUr0BEfE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And yet what The Hu is doing, while new, comes out of a tradition that began several decades ago when Mongolia transitioned from a satellite of the Soviet Union to a democracy.\u003c/p>\n\u003cp>As the Soviet Union crumbled and Western influence flooded in during the late 1980s and early 1990s, Mongolian musicians chose to preserve Mongolian culture while also adapting new influences, explains University of Chicago ethnomusicology doctoral student \u003ca href=\"http://chicago.academia.edu/ThaleaStokes\">Thalea Stokes.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It is something they continue to do today, says Stokes, who spoke via Skype from Inner Mongolia where she is studying Mongolian hip-hop. That hip-hop scene has a similar background. Although hip-hop is a relatively new import, Mongolians have rapidly adapted it, mixing “fierce ethnic pride and adventurous dancing” with social and political critique, according to Stokes’ research.\u003c/p>\n\u003cp>“Mongolians are not just taking elements from Western music and just copying and pasting,” says Stokes. Instead, they’re using some of these elements and making their own authentic music.\u003c/p>\n\u003cp>“So it’s not rock music performed by Mongolians. It’s Mongolian rock music,” she says.\u003c/p>\n\u003cp>Mongolian rock combines traditional Mongolian instruments, like a horsehead fiddle (\u003cem>morin khuur\u003c/em>), Jew’s harp (\u003cem>tumur khuur\u003c/em>) and Mongolian guitar (\u003cem>tovshuur\u003c/em>) with the pounding bass and drums of rock.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It also involves singing in a guttural way known as throat singing while throwing heads back and forth reminiscent of the headbanging of ’80s heavy metal bands like Metallica. Those who study Mongolian music believe one reason The Hu has proved so popular with outsiders is this combining of modern and historical and Eastern and Western elements.\u003c/p>\n\u003cp>The Hu call their style “hunnu rock” — from the Mongolian root word for human being: “hu.” The band spent seven years putting together its first album, which it expects to release this spring. They plan to call it \u003cem>Gereg\u003c/em>, the name for a diplomatic passport used during the time of Genghis Khan. For the album, the idea was to find, study and incorporate as much of Mongolia’s musical culture as they could into a rock style, says the band’s 52-year-old producer and songwriter, B. Dashdondog, who goes by “Dashka.”\u003c/p>\n\u003cp>Mongolian musical culture is tied up with their pastoral way of life. The two-stringed horsehead fiddle is shaped to resemble a horse and includes the carving of a horse head and strings and bow made of horsehair. It produces a sound similar to a violin and can be used to imitate the sound of a herd of horses. In throat singing, associated with pastoral herders in Central Asia, the singer produces a low constant sort of drone at the same time as a series of higher tones.\u003c/p>\n\u003cp>“We wanted to come up with our own thing that we can offer to this big music family. Make something new,” says Dashka, who spoke through a translator via Skype.\u003c/p>\n\u003cp>It is not just their instruments that incorporate traditional elements. In the band’s first song, “Yuve Yuve Yu” (What’s going on?), they mention Genghis Khan and how he was fated to bring nations together. The video begins with images of people inside playing video games, watching television and looking at their phones. A door is opened and the band’s four members step into different natural settings: cliffs, desert, forest and lake. The message they hope to convey through their lyrics and imagery is that people need to pay attention to nature and their history and culture, explains lead singer TS. Galbadrakh, known as “Gala,” 29.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It is a familiar message to \u003ca href=\"https://www.anthropology.wisc.edu/staff/hutchins-kip/\">Kip Hutchins\u003c/a>, a doctoral student in cultural anthropology at the University of Wisconsin. Lines about neglecting their ancestors — like “taking our great Mongol ancestors names in vain” — are almost exactly what was sung in the late 1980s during the transition to democracy, says Hutchins. It was then that rock became popular as a form of political protest. Soon after, Mongolians started to form folk rock and folk jazz ensembles. Band members tended to be trained in conservatories on traditional instruments.\u003c/p>\n\u003cp>The four members of The Hu all learned to play traditional Mongolian instruments at the Mongolian State conservatory. The oldest in the group, G. Nyamjantsan, who goes by “Jaya,” 35, still teaches at the conservatory. N. Temuulen aka “Temka,” 28, who plays the Mongolian guitar, says their international popularity was something they expected — but not in the millions.\u003c/p>\n\u003cp>“When we do this, we try to spiritually express this beautiful thing about Mongolian music. We think we will talk to everyone’s soul through our music,” says Temka through a translator. “But we didn’t expect this fast, people just popping up everywhere.”\u003c/p>\n\u003cp>They aren’t quite sure how it happened. Hutchins has an idea. He believes part of the appeal of bands like The Hu is the way he believes the story of Mongolia has been written in the West. Nomadism and horse culture has been romanticized, and the emphasis on freedom and heroes tends to appeal to the stereotypical male heavy metal fan.\u003c/p>\n\u003cp>“There is a kind of exoticism to Mongolia,” says Hutchins. Mongolia “is at once a community and a culture that is part of Asia and Europe at the same time.”\u003c/p>\n\u003cp>The Hu is not the only Mongolian band that has attracted recent international attention. There is the folk rock band Altan Urag, whose music was featured in the 2007 film \u003cem>Mongol\u003c/em> and in the Netflix show \u003cem>Marco Polo,\u003c/em> and the Inner Mongolian Hanggai Band.\u003c/p>\n\u003cp>Ethnomusicologist Charlotte D’Evelyn sees The Hu as trying to bring back traditions while also modernizing. For her, it is as if the band is saying, “We’re still modern and we’re living in the modern world. But we’re using this music to revive some kind of nationalistic cultural identity.”\u003c/p>\n\u003cp>Hutchins puts it another way.\u003c/p>\n\u003cp>“The Hu is obviously interested in teaching a global community about Mongolian culture as much as they’re interested in creating something Mongol.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://katyacengel.com/\">Katya Cengel\u003c/a>\u003cem> is the author of \u003c/em>\u003ca href=\"https://www.amazon.com/Exiled-Killing-Fields-Cambodia-California-ebook/dp/B07C853GF9\">Exiled: From the Killing Fields of Cambodia to California and Back\u003cem>.\u003c/em>\u003c/a>\u003cem> She reported from Mongolia in 2017 on a fellowship from the \u003c/em>\u003ca href=\"https://internationalreportingproject.org/\">International Reporting Project (IRP)\u003c/a>\u003cem>. You can find her on Twitter \u003c/em>\u003ca href=\"https://twitter.com/kcengel\">@kcengel\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+A+Mongolian+Heavy+Metal+Band+Got+Millions+Of+YouTube+Views&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13848271/how-a-mongolian-heavy-metal-band-got-millions-of-youtube-views","authors":["byline_arts_13848271"],"categories":["arts_835","arts_71","arts_69","arts_235"],"tags":["arts_994","arts_596","arts_905"],"affiliates":["arts_137"],"featImg":"arts_13848272","label":"arts_137"},"arts_13816019":{"type":"posts","id":"arts_13816019","meta":{"index":"posts_1591205157","site":"arts","id":"13816019","score":null,"sort":[1512100840000]},"guestAuthors":[],"slug":"mixtape-new-directions-in-bay-area-heavy-metal","title":"Mixtape: New Directions in Bay Area Heavy Metal","publishDate":1512100840,"format":"audio","headTitle":"Mixtape: New Directions in Bay Area Heavy Metal | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>With the Bay Area’s history as a breeding ground for heavy metal, it’s probably not a surprise that emerging local bands are continuing to find new and compelling ways to cross-pollinate metal’s many strains.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/succumbsf/\" target=\"_blank\" rel=\"noopener\">Succumb\u003c/a> and \u003ca href=\"https://www.facebook.com/Funeral-Chant-1286274381479402\" target=\"_blank\" rel=\"noopener\">Funeral Chant\u003c/a>, for example, are contorting black metal and death metal into unpredictable new sounds. The former band’s first LP, arriving on reliable local label The Flenser, debuted to widespread critical acclaim; the latter group’s murky, lo-fi demo tape, with its warped, unsettling sound, marks the band as one to watch.\u003c/p>\n\u003cp>Other local heavy groups, \u003ca href=\"https://www.facebook.com/brumeband\" target=\"_blank\" rel=\"noopener\">Brume\u003c/a> and \u003ca href=\"https://www.facebook.com/bodyvoid\" target=\"_blank\" rel=\"noopener\">Body Void\u003c/a>, offer contrasting approaches to atmospheric doom metal. Brume fuses doom’s heaviness to sprawling, psychedelic compositions, while Body Void layers its songs with abrasive noise. Perhaps the most high-concept of the doom-influenced bands included here is \u003ca href=\"https://www.facebook.com/squalus.band/\" target=\"_blank\" rel=\"noopener\">Squalus\u003c/a>. Formed by members of Giant Squid, the group’s first LP is a musical re-imagining of the film \u003cem>Jaws\u003c/em>.\u003c/p>\n\u003cp>This mixtape collects new and recent music from ten local metal bands, but it really only scratches the surface of the wealth of metal talents in the Bay Area. If you like what you hear in this mix, be sure to check out the label \u003ca href=\"http://transylvaniantapes.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Transylvanian Tapes\u003c/a>, which has released works from a number of the bands included here and whole bunch of others worth digging into.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all ten included bands.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=128915127&s=143441\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Subscribe to The Bay Bridged Podcast!\u003c/strong>\u003c/a>\u003c/em>\u003c/p>\n\u003ch2>Track Listing\u003c/h2>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/succumbsf/\" target=\"_blank\" rel=\"noopener\">Succumb\u003c/a>\u003c/strong> – “Survival”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Funeral-Chant-1286274381479402\" target=\"_blank\" rel=\"noopener\">Funeral Chant\u003c/a>\u003c/strong> – “Flood of Damnation”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Ails-1480944935537950/\" target=\"_blank\" rel=\"noopener\">Ails\u003c/a>\u003c/strong> – “Dead Metaphors”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/hazzardscure/\" target=\"_blank\" rel=\"noopener\">Hazzard’s Cure\u003c/a>\u003c/strong> – “Master of Heathens”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/brumeband\" target=\"_blank\" rel=\"noopener\">Brume\u003c/a>\u003c/strong> – “Call the Serpent’s Bluff”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/bodyvoid\" target=\"_blank\" rel=\"noopener\">Body Void\u003c/a>\u003c/strong> – “Swan”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/squalus.band/\" target=\"_blank\" rel=\"noopener\">Squalus\u003c/a>\u003c/strong> – “The Orca”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Cardinal-Wyrm-157603967620024/\" target=\"_blank\" rel=\"noopener\">Cardinal Wyrm\u003c/a>\u003c/strong> – “The Resonant Dead”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://akatharsia.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">Akatharsia\u003c/a>\u003c/strong> – “No Generation Without Corruption”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/BadrVogu\" target=\"_blank\" rel=\"noopener\">Badr Vogu\u003c/a>\u003c/strong> – “Anathema of Time”\u003c/p>\n\n","blocks":[],"excerpt":"Local bands are contorting black, death, and doom metal into unpredictable new sounds.","status":"publish","parent":0,"modified":1705029000,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":332},"headData":{"title":"Mixtape: New Directions in Bay Area Heavy Metal | KQED","description":"Local bands are contorting black, death, and doom metal into unpredictable new sounds.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"http://media.libsyn.com/media/thebaybridged/Metal_Mixtape_2017.mp3","sticky":false,"path":"/arts/13816019/mixtape-new-directions-in-bay-area-heavy-metal","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the Bay Area’s history as a breeding ground for heavy metal, it’s probably not a surprise that emerging local bands are continuing to find new and compelling ways to cross-pollinate metal’s many strains.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/succumbsf/\" target=\"_blank\" rel=\"noopener\">Succumb\u003c/a> and \u003ca href=\"https://www.facebook.com/Funeral-Chant-1286274381479402\" target=\"_blank\" rel=\"noopener\">Funeral Chant\u003c/a>, for example, are contorting black metal and death metal into unpredictable new sounds. The former band’s first LP, arriving on reliable local label The Flenser, debuted to widespread critical acclaim; the latter group’s murky, lo-fi demo tape, with its warped, unsettling sound, marks the band as one to watch.\u003c/p>\n\u003cp>Other local heavy groups, \u003ca href=\"https://www.facebook.com/brumeband\" target=\"_blank\" rel=\"noopener\">Brume\u003c/a> and \u003ca href=\"https://www.facebook.com/bodyvoid\" target=\"_blank\" rel=\"noopener\">Body Void\u003c/a>, offer contrasting approaches to atmospheric doom metal. Brume fuses doom’s heaviness to sprawling, psychedelic compositions, while Body Void layers its songs with abrasive noise. Perhaps the most high-concept of the doom-influenced bands included here is \u003ca href=\"https://www.facebook.com/squalus.band/\" target=\"_blank\" rel=\"noopener\">Squalus\u003c/a>. Formed by members of Giant Squid, the group’s first LP is a musical re-imagining of the film \u003cem>Jaws\u003c/em>.\u003c/p>\n\u003cp>This mixtape collects new and recent music from ten local metal bands, but it really only scratches the surface of the wealth of metal talents in the Bay Area. If you like what you hear in this mix, be sure to check out the label \u003ca href=\"http://transylvaniantapes.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Transylvanian Tapes\u003c/a>, which has released works from a number of the bands included here and whole bunch of others worth digging into.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all ten included bands.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=128915127&s=143441\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Subscribe to The Bay Bridged Podcast!\u003c/strong>\u003c/a>\u003c/em>\u003c/p>\n\u003ch2>Track Listing\u003c/h2>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/succumbsf/\" target=\"_blank\" rel=\"noopener\">Succumb\u003c/a>\u003c/strong> – “Survival”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Funeral-Chant-1286274381479402\" target=\"_blank\" rel=\"noopener\">Funeral Chant\u003c/a>\u003c/strong> – “Flood of Damnation”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Ails-1480944935537950/\" target=\"_blank\" rel=\"noopener\">Ails\u003c/a>\u003c/strong> – “Dead Metaphors”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/hazzardscure/\" target=\"_blank\" rel=\"noopener\">Hazzard’s Cure\u003c/a>\u003c/strong> – “Master of Heathens”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/brumeband\" target=\"_blank\" rel=\"noopener\">Brume\u003c/a>\u003c/strong> – “Call the Serpent’s Bluff”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/bodyvoid\" target=\"_blank\" rel=\"noopener\">Body Void\u003c/a>\u003c/strong> – “Swan”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/squalus.band/\" target=\"_blank\" rel=\"noopener\">Squalus\u003c/a>\u003c/strong> – “The Orca”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Cardinal-Wyrm-157603967620024/\" target=\"_blank\" rel=\"noopener\">Cardinal Wyrm\u003c/a>\u003c/strong> – “The Resonant Dead”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://akatharsia.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">Akatharsia\u003c/a>\u003c/strong> – “No Generation Without Corruption”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/BadrVogu\" target=\"_blank\" rel=\"noopener\">Badr Vogu\u003c/a>\u003c/strong> – “Anathema of Time”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13816019/mixtape-new-directions-in-bay-area-heavy-metal","authors":["178"],"categories":["arts_69"],"tags":["arts_1118","arts_21788","arts_994","arts_596"],"featImg":"arts_13816020","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. 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You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. 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Updated Monday through Friday at about 3:30 p.m. PT.","airtime":"MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.marketplace.org/","meta":{"site":"news","source":"American Public Media"},"link":"/radio/program/marketplace","subscribe":{"apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/APM-Marketplace-p88/","rss":"https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"}},"mindshift":{"id":"mindshift","title":"MindShift","tagline":"A podcast about the future of learning and how we raise our kids","info":"The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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