With Hex Key (Epitaph), the third long-player by Atlanta-by-way-of-Los-Angeles-by-way-of-Austin Mamalarky, the group doesn’t stray from its pop sensibilities. Yes, the four-piece relies heavily on guitarist/vocalist Livvy Bennett’s airy vocal delivery and the group’s song structures are inviting, whether driven by guitars or keyboards with a heavy emphasis on deep bass rhythms… but aside from maybe one or two songs “MF” that completely engulfs the senses, there isn’t much that’s truly captivating about the band. Don’t get me wrong, the band members are crafty at their respective instruments and the songwriting is tight but there’s something missing. It’s like a storyline without a climactic finish, or maybe even passionate sex without the orgasm. You may come back to Hex Key and try to find something that will get your attention but (sigh), it’s just not there. Something still needs to be unlocked.

DEAD PIONEERS – PO$T AMERICAN

Often times there are moments when an artist might say the quiet part out loud. Lately, there haven’t been many willing to take the risk but for the last couple of years, Colorado’s Dead Pioneers have been willing to fight the good fight through its music poignantly.  The punk outfit is fronted by indigenous visual and performance artist Gregg Deal on vocals, rounded out by guitarists Josh Rivera and Abe Brennan, drummer Shane Zweygardt, and bassist Lee Tesche (also in Algiers), is completely unapologetic in delivery of its powerful rhythms and thoughtful lyricism.

Dead Pioneers just released its sophomore full-length release PO$T AMERICAN (Hassle Records) with no fucks or care given regarding who may find it offensive. The album itself is rife with historical context, affecting both indigenous and “American” culture, but from a different point of view. While some might believe the album is the embodiment of vitriol for the society we all live in, it might be misplaced. Deal’s criticism goes back hundreds of years, with indigenous societies within these states witnessing it, and the rest of the world watching as societies have been – and continue to be – torn away piece by piece. This collective of musicians and artists paints clear pictures of the world we live in through its music many choose to ignore on how it’s been turned upside down.

The album opens with Native song/chants before exploding into the album’s title track. It’s not so much an eruption as it is an angry testament with Deal spitting razor-tongued facts treading on dire economics and an American culture that is moving on the decline. In just under 2 minutes, the song eviscerates our entire genocidal mindset built on a nationalism built on racism. But it’s the music that matches the fury with guitars screeching at times over an infectious rhythm. The melody the band delivers really is hypnotic. The band’s rallying war cry might be “My Spirit Animal Ate Your Spirit Animal,” where we realize yeah, this is a punk band. The rhythm is frantic but every instrument delivers power with purpose as Deal dishes out his spoken/sung lyrics dealing with culture vultures, colonialism, and hate. Josh Rivera and Abe Brennan guitars are built around the rhythm and Deal’s vocals and the track slaps at just about every turn. If there’s one track that’s bound to hit the repeat button it’s this one.  

Deal is a masterful storyteller and with “The Caucasity” he recounts events of a speaking engagement – as he so often does throughout the country – explaining his views on social injustices, and anecdotes, offering his ideas before being interrupted by someone. An indignant young man took everything he said as negative chatter, not understanding Deal’s views are a different perspective. The rest of the band underscores his narrative, and we understand the event he recounts isn’t just the poor education for one person but is the same one millions around the country. It usually delivers caucasians as saviors, with barely a mention of powerful impacts by others. It’s intense. There’s a mélange of punk anthems, spoken word pieces backed with music, and melody thrown into the mix of PO$T AMERICAN but it all makes sense, and “Love Language” offers something at its most visceral. The music forces everything out of its way through power chords and frantic rhythms while Deal spits fire around fragile white masculinity. Ren Aldridge of the post-hardcore English outfit Petrol Girls makes a guest appearance here, volleying introspective lyrics alongside Deal. But it’s the beautifully scored “Fire And Ash” where the band shows another side of itself allowing the music the drift, dive, and rise above all the noise as Deal shares his thoughts on another marginalized group, hated for pronouns used.

If truth be told, PO$T AMERICAN leaves me dumbfounded simply for its unabashed songwriting, forceful attack, and freedom. Now just two records in and Dead Pioneers lets us know that in 2025, punk’s not in the grave yet. We should all aspire to be like them.