Who were the first punks? Do The Damned have more of a shout than The Sex Pistols? The Stooges or Ramones? Gregg Deal, the acclaimed visual and performance artist behind his new project Dead Pioneers, is making a claim that Indigenous Americans were the first real punks.

Gregg Deal is an artist and activist and a member of the Pyramid Lake Paiute Tribe. Much of his work includes exhaustive critiques of American colonialism, society, politics, popular culture and history. With this work - including paintings, murals and performance art - Deal critically examines issues within Indian country such as decolonisation, stereotype and appropriation. He has exhibited his work at cultural centres nationally and internationally.

Deal suggests that the overarching theme of the Dead Pioneers self-titled album is “an introduction to the band itself.” Created with a DIY disposition and the “love of a scene that saves lives,” they reel off a roll call of marginalised groups and protected characteristics: “Indigenous rights, Black rights, Brown rights, Asian rights, Gay rights, Trans rights, Workers rights and beyond…” This is central to their identity and focus, saying that “with a North American Indigenous person as the vocalist, being unapologetically upfront on the social, political and cultural side of things doesn’t seem necessary, but paramount to the overall tone of the band.”

This self-titled debut, coming in at a lithe 22 minutes, with only one of the twelve tracks exceeding three minutes, is almost over before it begins, but covers a huge amount of ground in that time. Musical touchstones are varied, ranging from Black Flag and The Minutemen via Suicidal Tendencies and Rage Against The Machine through to La Dispute or IDLES. Thematically, as much as sonically, it channels the taut energy and directed rage of Fugazi or Henry Rollins at their peak.

Spoken word interludes serve as connections between songs as well as linking back to Deal’s extensive art career. Tracks such as lead single ‘Bad Indian’ uses humour as a way into complex, knotty themes and has the lines, “A woman once asked me my Indian name and I said ‘It’s Gregg.’ She was so disappointed she was like ‘no it has to be Red Eagle, or two Rivers,’ ‘or Greyskull’ I said. ‘Yes, wait, is that for real?’ ‘No, no,’ I said without her realising my brief but generationally relevant He-Man joke, the kind of joke that would tell her while Indian, I’m also having an American experience too.”

The band is made up of guitarists Josh Rivera and Abe Brennan, drummer Shane Zweygardt and bassist Lee Tesche (who is also lead guitarist for Algiers), with Gregg Deal on vocals. For the creation of the album, the songs were written together, “all bringing something to the table and working through it, just the excitement and desire to write,” with most of the lyrics contributed by Deal. “We are together in all we do. Our process is one of unity and no ego. Obviously, I wouldn’t be here without them. The shared vision is paramount to making this work properly.”

“I see the existence of Dead Pioneers as an extension of my own visual and performance art work,” concludes Deal. “Having used spoken word in my practice, this is a new medium that is not just satisfying as an artist, but empowering to unapologetically say the quiet things out loud.”

Regardless of who was really punk first, Dead Pioneers are here now, continuing to ask questions and stand up for the voiceless. And in a post-Albini world, perhaps such a sense of integrity is more important than ever?

TRACK LISTING

1. Tired
2. We Were Punk First
3. Moving Day
4. The Punchline
5. Bad Indian
6. The Art Of Savagery
7. Rage
8. Dreamcatcher
9. World Up My Ass
10. This Is Not A Political Song
11. Doom Indian
12. No One Owns Anything & Death Is Real

‘PO$T AMERICAN’ is the second full-length album by Dead Pioneers. Written in February and recorded in July, it pre-empts the 2024 American election but wraps up the fears and frustrations as eloquently and, crucially, humorously as the band’s 2023 self-titled debut.

“Currently, we are amidst the gross existence of capitalism, colonialism, white supremacy and the many oppressive forces that have come to inform everything around us,” says vocalist and songwriter Gregg Deal. “The title ‘PO$T AMERICAN’ informs a collective disenfranchisement and disillusionment to the so-called American dream, while moving forward with hope of a desired designation of unity outside those that would use us for their own capitalistic power grab.”

The aural palate is broadly the same, but it feels expanded, stronger somehow: drawing on the confrontational writing of Rage Against The Machine, the unapologetic voice of Chuck D and Public Enemy, the storytelling of Johnny Cash, the evolution of IDLES and punk stalwarts including Black Flag, Rollins Band and Dead Kennedys.

Overall, the resulting feeling across the new album is one of cautious optimism: “Although we didn’t expect the political relevance to become more relevant, we have no illusions to the American dream, or to where we seem to be going. But we have hope that we can get to a better place for people to have what they need.” It is an album that speaks to and for this precise time and place; that perhaps could not exist at any other time. It is an album for now.

Dead Pioneers emerged as a dynamic extension of vocalist Gregg Deal’s performance art, seamlessly blending music with critical cultural commentary. Rooted in the same themes of identity and resistance that define his visual work, the band’s sound acts as a powerful platform for addressing the complexities of Indigenous experience.

Deal harnesses the raw energy of punk and alternative influences to challenge prevailing narratives, using lyrics that provoke thought and evoke emotion. Just as his performance art confronts the legacies of colonization and systemic marginalization, Dead Pioneers - completed by Josh Rivera and Abe Brennan on guitars, bassist Lee Tesche (Algiers) and drummer Shane Zweygardt - engages audiences in a visceral dialogue about survival, resilience, and reclamation of voice.

This musical endeavour not only amplifies Deal’s artistic vision but also creates a space for collective expression and solidarity, inviting listeners to reflect on the intersections of culture, history, and identity in a contemporary context. Through Dead Pioneers, Deal continues to assert that art, in all its forms, can be a powerful vehicle for activism and change.

“Being embarrassed to be a white American has never been a bigger visceral, laugh filled, joy than when I’m listening to Dead Pioneers. If you think truth needs a great soundtrack… look no further than Dead Pioneers.” - Shepard Fairey

“Dead Pioneers is one of one. Injecting new life into punk rock with an indigenous perspective and an important message. They are beautiful people and great musicians and we can’t wait to go on tour with them as soon as possible!” - The Interrupters

“Imagine if the fucking Vikings or the Mayflower never made it across the Atlantic and One Mocassin’s grandkids electrified the lute his ancestors found in the rubble of the Mayflower that crashed on the rocks. There would be no Minutemen or Fugazi, only DEAD PIONEERS!” - Jeff Ament, Pearl Jam

TRACK LISTING

A.I.M.
PO$T AMERICAN
My Spirit Animal Ate Your Spirit
Animal
Pit Song
The Caucasity
Mythical Cowboys
Dead Pioneers
White Wine
Juicy Fruit (Ode To Chief Bromden)
STFU
Bloodletting Carnival
Love Language
Fire And Ash
Working Class Warfare
Untitled Spoken Word No. 2

Leicester punk sextet Jools have today released their new single ‘97%’, a provocative track spotlighting the ubiquity of sexual harassment in the lives of women. This comes alongside the band’s announcement of signing to UK indie label Hassle Records (Brutus, The Used, Casey), and the release of an upcoming double A-side 7” single in June.

‘97%’ draws on vocalist Kate Price’s own personal experiences and those of the women in her life. “The point of the song, however, is not to explore my experience as an isolated incident, but instead to force people to confront such commonplace experiences in a manner in which they can’t look away,” Price says. “Everybody knows a woman that has been harassed or assaulted, but nobody seems to know an abuser. That simply doesn’t add up. I want that song to feel uncomfortable because I want everyone who hears it to realise that just because they are not an abuser, that doesn’t mean they aren’t responsible for changing the culture and experiences of every woman. It’s a cry for justice in the world.”

To experience Jools in their most chaotic and unpredictable full flight is, the band were once told, to not know whether you are about to be kicked in the face or kissed on the cheek. Even that, however, feels like an understatement.

At any moment the Jools experience, on stage and on record, can turn on a sixpence from that of unbridled rage at the world to a celebration of the beauty that can still be found hidden in its murky corners. The punk rock of Jools is at once visceral and violent, cathartic and confrontational, and at the next exultant and exhilarating. Jools is duality by design, where contradiction is empowerment harnessed as a force for progress, sonically and societally.

A collective of musicians – Mitch Gordon and Kate Price on vocals, Chris Johnston and Callum Connachie on guitar, Joe Dodd on bass, and Chelsea Wrones on drums – spread between London and Leicester, Jools found each other as much by accident as design in the

earliest days of 2023. Together, they serve as a creative confluence for inspirations that move from the punk and post-punk of The Smiths, Fontaines DC, Iggy Pop, Amyl & The Sniffers and PJ Harvey, through the shoegaze of My Bloody Valentine and Slowdive, and into territories marked metal, rap and pop.

“There’s an unconventional nature to our music that builds an intensity and a tension and an atmosphere that is uniquely Jools,” Gordon says of the band’s layered cacophony, from which his and Price’s mostly spoken word vocals explode. “Combining all of these sounds is in some ways deliberately counterintuitive, so that Jools does not conform and cannot be placed inside conventional genre boxes. I’m proud when people tell me that they find it hard to categorize our band. We’re simply Jools.”

Such an ethos is carried throughout every facet of the band. If their music is often confrontational, sometimes fun, and always loud, the fashion of Jools is its equal, too, an embodiment of its spirit and message. “The freedom with which the band dresses is for us about reinforcing the ideal that people should be able to live their lives carefree and without judgment,” Price begins. “Rock’n’roll and fashion have always gone hand in hand, and we are greatly inspired by the giants and the pioneers who have come before us and the theatrics of the shows they delivered. Fashion gives us a freedom to reinvent ourselves any which way we choose, and to constantly challenge preconceptions of who and what Jools is.”

The world of Jools is a space in which such progress and evolution can thrive. It’s there on stage, and it’s there in your headphones. Jools is a freedom of sound and freedom of self, an unfiltered expression of and search for truth, expressed with inextinguishable indignation. Be it a punch in the face or a kiss on the cheek, Jools is nothing if not a band to believe in.

TRACK LISTING

A1. 97%
B1. FKA

When Casey called it a day back in 2019, it felt like a premature demise. Their two full-length albums – 2016’s ‘Love Is Not Enough’ and 2018’s ‘Where I Go When I Am Sleeping’ – had firmly established the Welsh five-piece as one of the most exciting bands in Britain’s alternative scene in just a few short years.

Some four or so years later, the band have returned; not only to sold out crowds on their first reappearance on stage, but also with new music in hand. One listen to the new songs, and it’s clear the band needn’t worry about the integrity of their fresh creative vision, nor their emotional investment in it. The new music is quintessential Casey, open hearts dripping with the same kind of pain and trauma that defined the band from the start. Because Casey songs don’t just replicate the feelings that inspire them – they embody them. That hasn’t changed.

Alkaline Trio return with their new album "This Addiction" - their first new material in years.