Heavy metal becoming increasingly political

“It’s becoming global and it’s becoming a tool for social and political commentary,” Dunn said. “It takes on a greater meaning in countries where people have had to struggle to survive. It takes on a much stronger political tone.”

Metal artists “have responded to the culture and politics of the day,” said Donna Gaines, a sociologist and author of “Teenage Wasteland,” a study of working class New Jersey metalheads.

Metal music in the 1980s was often homophobic and “very white,” she said, but current bands tend to be socially conscious and suspicious of political power. There’s also more women in the audience — and fronting the bands.

“This is another generation rising,” Gaines said.

Heavy metal has always touched on social and political issues. Metal grandfathers Black Sabbath criticized the Vietnam War in songs like “War Pigs” and “Children of the Grave.” Iron Maiden’s “Run to the Hills” was an angry denunciation of the displacement of Native Americans.

But much of the criticism was blunted by dark imagery that panicked parents and led to the now ubiquitous “Parental Advisory” labels. Metal’s punk brethren were seen as having a more learned world view.

That began to change when hardcore punk and metal fused in the late 1980s with bands like Dirty Rotten Imbeciles and Nuclear Assault. But metal was still primarily known for the excessive lifestyles and racy videos of glam bands.

The popular view of metalheads as mentally deficient goons was memorialized with the MTV cartoon “Beavis and Butthead,” about two teen metalheads who terrorize their pudgy neighbor Stewart, who wears a T-shirt of the glam rock band “Winger.”

More meaningful music was coming from the underground as popular culture embraced grunge and metal lost favor.

Napalm Death was a product of Britain’s “Crass” movement, which fused anarchism and punk in the late 1980s. Vocalist Mark “Barney” Greenway, a vegetarian and peace advocate, is often pulled aside by fans who want to know more about his progressive views.

One recent song, “The Code is Red, Long Live the Code,” takes aim at the spate of terror alerts in America with lyrics like: “Switched on to subdue when the masses switch off.”

“It’s really, really difficult sometimes to break through the cloud of apathy, so it’s great when someone comes and asks why you are coming from your perspective,” Greenway said during a recent tour stop in California.

“When you come into a country like America, when you challenge thinking, it’s a great affront to some people,” he said.

The lyrics on Lamb of God’s two most recent albums have been expressly political, and the politics lean heavily to the left.

Napalm Death’s Greenway is considering work as a political activist when his metal days are over, but he doesn’t think metal will ever completely stray from hedonistic and supernatural themes.

“I appreciate that not everything has to be awareness raising or political,” he said. “Music is also a form of entertainment and it should remain that way. Variety is the spice of life. Escapism is a good thing if it doesn’t cloud your vision.”