**SYCAMORE MEETING BARCELONA, 28th Nov 2019**

[Zine content issue no. 2](https://docs.google.com/spreadsheets/d/1Ugpf9DkJf4y4DI2JCDijWBPPce0WanoiBYGFosBXFAA/edit#gid=0)
**Deadline**: 28th February 2020
**Publish**: by start of festival season 2020

1. Haizea, Tania, Rafaela: Brainstorming ideas for editorial
2. Rafaela: Nervosa interview - ask Maria to write introduction for interview + shorten interview
3. Tania: Send reminder to Anna about Scolex interview (content, character limit etc.), write introduction
4. Tania, Haizea: Interview with gay promoter from Canary Islands
5. (Done) Allia Sadeghipour - choose articles
- How to Prepare for a Metal Show
- Metal Saved My Life and My Psychology
6. Rafaela: Annoying comments in the metal scene - [compilation](https://docs.google.com/spreadsheets/d/1MPsm3tEeZqjZn_vDrtYwhuV1d-poxlM6_AkzA4vWmvU/edit#gid=0)
7. Everyone: Brainstorm on Social Media Posts: New ideas, where to collect them
8. Everyone: Answer questions for Swedish fanzine

***Sycamore interview***

1. Where and when did the idea of starting a network appear and how did you proceed from there to where you are today?

**L**: Well it all started with R. and me meeting in Berlin one day. It turned out we had both been longterm heavy metal fans, queerfeminists and felt quite alienated within the metal scene. And then this evening we finally met somebody likeminded. I think meeting her changed a lot for me, because it meant I was no longer alone. This was so empowering. It turned out both of us had been thinking about founding a network/publishing a fanzine for quite a while, but never found the right people to do this with. And there we were.

**R**: Once the idea had taken shape we wrote a Call For Participation to gather like-minded people, spread it on our personal social media and got in touch with friends. We created a Facebook group and watched it grow week by week, until a smaller, active group of 7 people stood out that was eager to make Sycamore zine no.1 happen. Simultaneously to its publication in May 2018 we went online with an official Facebook as well as Instagram page that has been growing ever since.

2. Tell us why you decided to do a physical zine? Is it to be considered as a homage to the good old days of D.I.Y culture or are there any other arguments behind? Do you think there is a future for this kind of efforts or is the zine making business reduced to an act of nostalgia today?

**L**: I think fanzines are the perfect answer to our digital world. Nobody can comment on your fanzine. If you only have 200 copies of your zine, like us, and you only sell it to distros you know, it is very unlikely that it will get in wrong hands unlike everything that happens on the internet.

**R**: On top of that also comes a shared preference for physical items that can be hold in the hands, turning the pages, seeing the effort that has been put into it. For our first zine we cropped, folded and glued the red cover ourselves, hand-stamped and numbered all 200 copies. There was also a pretty rad Kill The King poster included which would not come with a digital copy only. I think there will always be people appreciating those kind of extras and looking at nowadays vinyl revival I don't think the zine making culture will die out at some point. Plus there is plently of zine festivals popping out, for example Squeezie Queer Zine Fest in Leipzig as well as there is the Berlin-based fanzine distro & library Schikkimikki, just to name two examples.

3. Sycamore #1 was released in 2018? and the first pressing of 200 units are now sold out. Did you expect to get rid of them so fast and how did you manage to make that happen?

**L**: Considering we sold zines to so many places around the world thanks to the help of our friends from Teratology Sound & Vision, who were our main distro, actually 200 zines is not that many! I think we were probably the first zine (that we know of) talking about metal from a queerfeminist perspective and what we learned is that there definitely is a need for this kind of content. There are metalheads out there hungry to hear the voices of likeminded queers and feminists.

**R**: We released our first fanzine at Wolf City Fest in Berlin in May 2018. Apart from sales in online distros we were also present at several European metal festivals, zine fests and vinyl fairs which sold extremely well, too.

4. How long did it take to go from idea to the final product and how did you put it together? What was the most and least fun during the process?

**L:** From the day we had the initial idea to the day we issued our first fanzine it took almost exactly two years...

**H:** ... but once a bunch of us got together in Berlin and outlined the process it was a matter of a few months. Timing and schedules are very variable though, as this is not anyone's main activity and most of us hold shitty day jobs. We're slowly crafting issue 2 anyhow.
Least fun was struggling with InDesign in an old computer. Most fun was holding the final result in my hands, selling it to a few lovely people in person and doing a couple of cool radio/podcast interviews (I get to choose the music!!!).

**R:** For me the most fun part is getting to know like-minded people from all over the world, making new friends and of course making all of this happen *with* my friends. It definitely makes a special bond to be creating this thing together.

5. Are there any other contemporary underground publications that you recommend? What zines of the past has been of importance for how Sycamore looks and is written?

**Sycamore**: Before we decided on a layout for Sycamore issue no.1 some of us got together face-to-face in Berlin. We brought fanzines, brainstormed and discussed. Looking at how different zines are made and can take shape was definitely one source of inspiration for us, as well as we are also quite influenced by D.I.Y. aesthetics and copy-and-paste style. Some cool gems that should be mentioned are "Okapi Riot", a German non-profit D.I.Y. fanzine about subcultures, music and zeitgeist from a queer-feminist perspective. Another one to mention is "Shotgun Seamstress" which is a US black punk fanzine by Osa Atoe. Apart from those there are also some historical zines that are important to us because they have initiated change in the past: The "Bikini Kill" and "Girl Germs" zines rooted in the Riot Girl movement, as well as the "Homocore" and "JD's" zines from the Queercore movement.

6. Do you separate the network from the zine or are they to be seen as an inseparable unit?

**H:** I personally see the zine as the tangible representation of the network and it's core principles. The artifact. That one physical object we get to hurl at your faces. It's beautiful.

**R:** Sycamore Network is meant to be the head of the beast. And the fanzine is one of the ways in which it manifests itself, next to other projects that we've been having on our minds under the banner of Sycamore Network.

7. The concept of Sycamore is based on a distinct formula which makes the starting point of your work different from most other communities that are engaged in the metal culture. What do you gain from this transparency and are there any disadvantages connected to this kind of outspoken agenda?

**Sycamore**: One main reason we are having clear outspoken stances are that it makes it so much easier to find like-minded people and establish and grow the Sycamore community. We can be pretty much certain that our values and positioning puts people off that we would not want to be involved with anyway, so you could see it as a quite useful "bullshit filter". On another note we want to empower our community and create a safe space for them to make their voices heard, and make visible that WE ARE THERE (if you like it or not!). Being out there and open about what we stand for makes it possible to enter a dialoge with people and create change. It's 2020 and this has been long overdue.

8. Do you consider the fundament of your network as an authority when it comes to how to achieve an inclusive approach in the metal scene or are your position more of a curious and exploring kind?

**Sycamore:** Recognize no authority!

**R**: Throughout my years of being involved in the metal scene I've rarely felt >honestly< included and welcome amongst a crowd of largely white cis-men at concerts and festivals. I know I am not the only one feeling this way, and I want to state an example with Sycamore Network, make things different. We strive for an inclusive approach, which means that everybody that considers themselves a minority in the metal scene and that identifies with our values is welcome to get in touch and participate. The whole process should be as transparent and open as possible. Since we want to grow and try out things, we are also open for new ideas on how to strenghten the bonds of the Sycamore community and make it known to even more people. Everybody's experiences and opinions are valid and should be heard.

9. Do you sense that there are different kinds of attitudes towards inclusion in different sub genres of metal or does the same kind of problems appear everywhere? If you have experienced some kind of discrepancy between different genres I´m curious to know how you would explain those differences?

**T:** I personally haven't experienced any differences between subgenres besides the imagery/aesthetics of the subgenres themselves - their tradition, so to speak. Most metal is grounded on some kind of nostalgia, a nostalgia that even goes beyond the music itself, and that makes it hard to evolve in some aspects. On another note subgenres like for instance Grindcore have always had a strong social message, but nowadays it is sometimes hard to gasp if that social criticism is part of an act of nostalgia (sticking with the traditional topics and style) or if the bands are actually singing about something they can firmly stand behind and that's currently relevant.
In any case, lack of representation (not only on stage, but also in other roles) is pretty much the same in all subgenres: a recurring problem, as it is having to fight against complaisance, infantilization, sexualization, and much more.

10. The position of not to mix art with politics are often held high in the metal underground. What´s your view on this topic?

**H:** It is something that's, well, not possible. I find it kind of naive (at best) to think there's such a thing as "apolitical" or "neutral". Obviously, this doesn't mean that as an artist you have to create a body of work that's explicitly political in its use of language, imaginery or concepts. We're not all Crass, and that's great. But any individual or group is inseparable of its environment and the power dynamics that be. Remaining aloof in the face of injustice or inequality is a choice in itself. Maybe the easiest one. Or the most convenient, depending on who you are. What I mean is that not taking sides often means agreeing with or being complicit in the way things work (in a specific scene or in society at large). Apolitical, my ass!

11. When Gaahl came out as homosexual he explained his previous silence on the matter that he wanted to be acknowledged for his art and that his sexuality should not be of any interest. Do you think that this posture should be looked upon as yet another expression of male privilege or do you think that it is accessible to anyone who wants to focus on what you do instead of who you are?

**H:** I feel there's two different aspects within this question, one is the very personal process an individual goes through before publicly coming out and the decisions that stem from it. I don't think we can or should judge anyone on that. The other aspect tho, as you suggest, has to do with the wider picture and the way things work within society. Unfortunately the choice you mention IS NOT available to everyone. For example, if you are a woman, for the public eye you are first and foremost a woman, and then comes your art (How many times have you seen the "female-fronted" tag? Seriously...).
Besides, Gaahl had made a name for himself already. When he publicly came out as homosexual he was the "hot topic" for the next few days, sure, but after not too long he was "Gaahl" again, that one dude who has been playing metal since 1994. Now, imagine a young trans person who just formed a virtually unknown band and wants to start playing out there and grow. What are the chances of the public and/or media "focusing only in what they do instead of who they are"? This was just an example I made up on the spot, but the main idea would be: yes, there's definitely some toxic hierarchies at work. And yes, we believe it is important and healthy to be aware of one's own position and privileges within any group of people and as artists/performers/publishers/fans..

12. Is awareness and mutual respect enough to create a safe space for anyone or will there always be possible toxic situations due to chosen or not chosen identities?

**R**: Awareness and mutual respect are the baselines of healthy communication and should be self-evident, but unfortunately the status quo speaks a different language (see the Kill The King testimonies in Sycamore zine no. 1). Of course there is always the possibility of toxic and harmful situations to arise and that can hardly be avoided by 100%. The way you deal with those situations though makes a difference. Is there someone approachable taking care of people's needs? Or do they have a hard time making their experiences heard and struggle to find someone supportive?
Also I want to point out that mostly toxic situations don't arise because of chosen or not chosen identities, but because of people disregarding someone's boundaries, excluding behaviours, exploiting power dynamics and so on.

13. What´s the best way to confront a non inclusive and disrespectful behavior and what´s the most obvious obstacles to get rid of in order to achieve a more diverse community amongst metal oriented people?

**R**: If you notice people behaving in sexist, racist or other discriminating ways, call them out on their bullshit, hold them accountable and demand change! Sometimes it may be hard because you are the only person in a big group that does not share your values. If you can, try find like-minded people to back you up and support you! If there is nobody around, get in touch with us! We are collecting experiences from within the metal scene and plan to publish them at some point. Change can only happen this way - nailing down the issues and tackling them afterwards.
To reach a more inclusive heavy metal community, representation is essential. I am still baffled when I see festivals with line ups that consist of bands with 100% men, like, amongst others, A Sinister Purpose Festival 2020. Not booking diverse bands and ignoring all women, trans-, queer, PoC musicians is a consciously discriminating act. And it is bullshit to say that there aren't enough diverse bands out there - our heavy metal playlist that currently features 188 bands proves the opposite (https://bit.ly/2EJkSYw). If you want to make a change, book bands, musicians, technicians, venue staff, online zine writers etc. that are not white (cis-)men. Encourage underrepresented folks to pick up instruments, have their back and listen to what they have to say! Their perspectives matter and need to be taken into account!

**T**: I believe the root of the problems and the biggest obstacle is lack of representation and/or invisibilization. I don't think (most) festivals, labels and promoters wake up one morning and consciously go: "Let's not book diverse bands at all!", and, as odd as it sounds, that's the REAL problem. Lack of representation in events, festival bills or the media quite often comes from lack of awareness. We've internalized and normalized so many shitty things throughout the years... but 2020 sounds like a good moment to pay some attention, people!
Remember that when there's no diversity on stage and its sorroundings, the message the public gets is that diversity doesn't exist, often with dire consequences.

14. I´m sure that your work has led you to a lot of interesting but overlooked bands and artists? Tell us what there is to know of your favorite findings!

**R**: I am currently enjoying the first demo by Swedish heavy metal band "Nightmärr", as well as Dresden-based rock band "Wucan" which have an incredibly talented singer as well as multi-instrumentalist. Check out their song and video "Night to Fall". Other all-time favourites would be the debut record by Gothenburg's Rock'n'Roll outlet Honeymoon Disease - "The Transcendence". They are killing it live, too! And last but not least, a bit more laid back and hailing from the U.S.: L.A. Witch and their s/t record. I could go on forever though.

**T**: I got to know about the feminist band Völva from Sweden, a band playing Black/Thrash with a very punkish/Rock'n'Roll flavour à la dirtier Aura Noir, also I'm loving the new Devil Master, probably one of the best releases of 2019. On a more Death Metal note, Fetid are crushingly heavy and I love that. Sölicitör, from the US, just put out a killer EP and I'm looking forward to their debut album. On a more Heavy Metal side, Tanith sound fantastic, very 70's/early 80's. Also, Chevalier are probably one of my favourite new-ish bands, and I was happy to listen to Molasses and Farida's voice again, can't wait to see what's coming up next from them.

15. How´s the metal scene around where you´re located? What was the last show you saw that blew your mind?

**R**: I am based in Leipzig, Germany. You'll find a quite distinct metal scene there with a lot of good (black) metal bands that are killing it, and live shows happening on a regular basis. Unfortunately I hardly know any metal musicians from there that are not white and cis-male, which is a fucking bummer (if there are, please let me know and reach out!). I don't necessarily consider myself part of that scene and go out to metal gigs rather infrequent those days. The last show that blew my mind was Föllakzoid at UT Connewitz, which is a beautiful old theatre with a very special vibe. The band's set felt a bit like a never-ending rave that lasts throughout the whole night. As far as I remember they didn't stop for any breaks in-between but managed to cast a spell on me for the entire performance, which does not happen often.

**T**: I’m from Barcelona and it has been especially hard for me to answer to this question. The metal scene here has different “subscenes” and I can only speak for the most “underground”, “old school” or whatever side of it, and even though I am always complaining, from a more objective perspective I’m happy to say it has changed in the last years, and probably thanks to the younger generations. A few years ago no one cared about attending shows, nowadays people are more enthusiastic and supportive. Most people are quite devoted, local and international gigs work good, and even though most bands are mainly white cis-male acts, people are getting rid of old, musty ideas and behaviors and are socially aware. There are several bands in different subgenres, a few metal bars (not my favourite, but there are a few, which I guess is a good sign), some underground labels, local promoters and designers (check out Branca Studio if you haven’t yet, they distributed some copies of the first issue of the fanzine in Spain). There are local bands like “legends” Körgull the Exterminator, and newer bands such as Prophets of Doom or The Mothercrow that are worth checking out. Unfortunately I can’t remember the last show that blew my mind, probably King Diamond at RockFest Barcelona this past summer.

16. So, looking into the future, how will the world around Sycamore evolve? What is the best and worst case scenarios?

**R**: We'd love to get more people on board for sure - people that want to get involved in the creation of future zines and Sycamore projects, taking this whole thing to the next level. We have been thinking about a heavy metal band database, organizing concerts, doing podcasts... if this speaks to you or if you have any other brilliant idea, definitely get in touch with us and let's spread the wildfire.
Best case scenario: Heavy metal queers taking over the world. Worst case scenario: Stagnation.