Olivia Rodrigo is marking a major milestone in her career. Five years after its release, the three-time Grammy winner is celebrating the anniversary of “drivers license,” the breakout single that reshaped pop’s emotional landscape and made her the youngest artist ever to debut at Number One on the Billboard Hot 100.
To commemorate the occasion, Rodrigo has unveiled a special new cover of “drivers license” by David Byrne, the Talking Heads frontman and longtime art-pop icon. Byrne’s version arrives today alongside Rodrigo’s original recording on all streaming platforms, kicking off a broader celebration tied to the fifth anniversary of SOUR, her chart-topping 2021 debut. Additional anniversary covers are expected to roll out in the coming months.
The release is accompanied by a pair of collectible vinyl editions. A limited 7-inch, pressed on translucent ruby vinyl, features Byrne’s “drivers license” cover on Side A and a live recording of Talking Heads’ “Burning Down the House,” captured when Byrne joined Rodrigo onstage at Governors Ball 2025. A Target-exclusive Tiny Vinyl edition, pressed on fruit punch-colored vinyl, pairs the original album version of “drivers license” with a live Governors Ball performance of the song. Order the aforementioned 7″ here, and order the Ruby colored version through Olivia’s site here.
Since its arrival on January 8, 2021, “drivers license” has amassed more than 4.7 billion global streams, earned a six-times Platinum certification, and spent eight consecutive weeks at Number One — then the longest run ever for a solo artist. The song helped propel SOUR to the top of the Billboard 200 and ultimately earned Rodrigo Grammys for Best New Artist, Best Pop Vocal Album, and Best Pop Solo Performance.
The anniversary arrives as Rodrigo remains firmly entrenched at pop’s center. Her sophomore album GUTS debuted at Number One in 2023, while its supporting world tour spanned five continents and sold out 100 headline shows. For Byrne, the collaboration continues a prolific recent run that includes his 2025 album Who Is the Sky? and a slate of interdisciplinary projects across theater, film, and publishing.
Five years on, “drivers license” remains both a generational touchstone and an unlikely bridge between eras — now refracted through one of pop’s most influential voices. Stream the song via the link.
Following their successful career of 50 million records sold worldwide, a Grammy award (and 12 nominations), and cementing themselves as a thrash legacy, Megadeth announced that their upcoming album will be their final. The band has now unveiled their newest single, “Let There Be Shred!” alongside its music video.
“Let There Be Shred” Artwork
Let There Be Shred!
The single centers around the band’s energetic sound with lyrics such as, “The amps start to roar, a tsunami of sound / Controlling the air, shaking the ground / Guitars are all screaming, they squeal with delight / Clawing fretboards away at the speed of light.” The fast riffs and solos combined with Dave Mustaine’s iconic vocals create the ultimate, authentic thrash single.
“When Megadeth started we said we would be fast and furious…we said so on the flyers we handed out,” Dave Mustaine says. “This song is fast and furious. Know it! It has a very hooky chorus that draws you in and you can’t help but play air guitar and headbang to this one.”
The music video features Mustaine participating in an intense mixed martial arts battle, which is interwoven with clips of the band’s performance. It was directed by Keith Leman, produced by Alethea Leman, and edited by Grant Templeton at Forward Post.
“It’s the second video from the new record that we made with Keith [Leman], who also directed ‘I Don’t Care,’” states Mustaine. “It was a blast to make and it’s a tribute to my first Sensei, Benny ‘The Jet’ Urquidez and my Professor, Reggie Almieda. Everyone on the set was really stoked to see each of us do our stunts. In the end, we got the balance of shredding and ass kicking just right!”
Final Studio Album & More
The single follows the previously released “Tipping Point” and “I Don’t Care,” alongside the announcement that “Ride The Lightning” will be featured as a bonus track. Mustaine co-wrote the song with James Hetfield, Cliff Burton, and Lars Ulrich, and it became a staple track for Metallica and the title track of their 1984 album.
Megadeth’s final studio album is set to be released January 23, 2026, via Mustaine’s Tradecraft imprint in partnership with Frontiers Label Group’s new BLKIIBLK label. The band is keeping busy until then. On the eve of the album’s release, Megadeth: Behind The Mask will premiere worldwide. The film details 40 years of Megadeth’s legacy with untold stories and more. More information is available here!
Aside from the film, the group has announced an exclusive, day-long celebration set for January 17 in La Vergne, Tennessee. “Let There Be Shred: The Ultimate Megadeth Immersive Listening Event” will feature Megadeth hosting a day full of activities and opportunities to get closer to the band. The band’s farewell tour across North America begins with a cross-country run through Canada on February 15 in Victoria, BC.
Sweet Pill has revealed their first offering from their upcoming LP, There’s Still A Glow. Accompanied by a meaningful music video directed by Johnny Komar, their newest single, “No Control,” is an introspective exploration of self-indulgence.
No Control
The single first premiered on Apple Music’s The Zane Lowe Show earlier on the release date. “No Control” is a brutally honest confession and a deep dive into self-control and boundaries.
“This is the first song we completed for Still There’s A Glow. At that time, I was feeling a bit…indulgent. Taking what I want, whenever I wanted it, and disregarding the world all at the same time. I felt like my self worth was cheap, and that I had no boundaries as a healthy person. I quite literally had no self control,” Singer Zayna Youssef continues, “This song is sort of my way to rock bottom. It is my fancy way of calling myself a pushover, unconfident, and ungrateful. I had this ‘grass is always greener’ kind of mentality and wanted more when I already had it and then some.”
The track comes partnered with a cinematic music video, directed by Johnny Komar. Youssef is depicted smoking and drinking at a bar between shots of performing with the band in a small room. Later, her deck of cards is replaced with a fistful of cigarettes while playing a game with her bandmates. Then, upon glancing at the table, all of the cards have been replaced by hundreds of cigarettes. The vices in the video perfectly pair with the lyrics, “Holding onto something gold / But I always want more / Feel it bending in your hands / I’m malleable / No control.”
There’s Still A Glow Album Artwork
There’s Still A Glow
“No Control” gives a first look at the band’s upcoming Sophomore album, There’s Still A Glow. The album is set to release on March 13, 2026, via Hopeless Records and is currently available for pre-order here!
There’s Still A Glow documents self-reflection and growth with raw lyrical honesty. It was written and recorded during the whirlwind three years following their 2022 debut album, Where the Heart Is. An album’s worth of scrapped demos later, There’s Still A Glow is ready to share its vulnerable, alternative soundscapes with the world.
“I went through some depression last spring, and then I went into therapy. It was also a big turning point in my life as I was about to turn 30, while I’d written our first record when I was graduating from college–that’s a big change,” Youssef explains. “I could’ve kept making bad choices because they’re easy, but I had to come clean to myself. Half the album was written before and the other half after, so the songs are kind of hard on myself but some are also hopeful, with a light at the end of the tunnel. You put out a fire, there’s still an ember that’s still glowing–that’s the record. It’s about being at a low and climbing out of it.”
A Fresh Start
The upcoming album is the close-knit band’s first written fully as a group and with the current lineup. The group wrote through the exhaustion of intense touring, and when it came time for Sweet Pill to record, Youssef was blocked. This is when they decided to start fresh, stepping away from most of the demos and looking inward. This is where There’s Still A Glow truly begins.
“Seeing Zayna change influenced the band–we grew, both as songwriters and as people,” explains guitarist Jayce Williams. Youssef adds, “A lot of the album is about the hurdle of being kind to yourself, making good choices for yourself. This was our first time writing as a band and to an audience, and it’s so honest and vulnerable. I hope it makes people feel like they can be honest with themselves in the same way.”
U.S. Tour Flyer
North American Tour
Sweet Pill is preparing for their North American tour in support of the upcoming album. The group begins their travels on release day in Pittsburgh and wraps up at their hometown show in Philadelphia on April 18. They will be hitting many major locations, including a show at Brooklyn, New York’s Warsaw on March 20, and Los Angeles, California’s El Ray Theater on April 2. Tour dates are found below. Tickets are found here.
3/13/2026 – Pittsburgh, PA @ Spirit Hall
3/14/2026 – Cleveland, OH @ Roxy at Mahall’s
3/15/2026 – Toronto, ON @ Lee’s Palace
3/17/2026 – Boston, MA @ Royale
3/19/2026 – Philadelphia, PA @ Union Transfer
3/20/2026 – New York, NY @ Warsaw
3/21/2026 – Washington, DC @ Atlantis
3/23/2026 – Atlanta, GA @ The Masquerade (Hell)
3/24/2026 – Nashville, TN @ Basement East
3/26/2026 – Dallas, TX @ Ferris Wheelers
3/27/2026 – Houston, TX @ White Oak Music Hall (Upstairs)
3/28/2026 – San Antonio, TX @ Paper Tiger
3/29/2026 – Austin, TX @ Mohawk
3/31/2026 – Mesa, AZ @ Rosetta Room
4/2/2026 – Los Angeles, CA @ El Rey Theatre
4/3/2026 – San Francisco, CA @ August Hall
4/4/2026 – Sacramento, CA @ Harlow’s
4/6/2026 – Seattle, WA @ Neumos
4/7/2026 – Portland, OR @ Hawthorne Theater
4/9/2026 – Salt Lake City, UT @ Kilby Court
4/11/2026 – Denver, CO @ Marquis
4/13/2026 – Minneapolis, MN @ Fine Line
4/14/2026 – Chicago, IL @ Thalia Hall
4/15/2026 – Grand Rapids, MI @ Pyramid Scheme
4/17/2026 – Columbus, OH @ King of Clubs
4/18/2026 – Philadelphia, PA @ First Unitarian Church
Following the release of “Big Hips,” MX Lonely has revealed the second offering from their upcoming album, ALL MONSTERS. The single is a deep, introspective dive surrounded by the heavy, melodic, shoegazey, alt-rock sound they are known for.
Photo: Luke Ivanovitch
Band Origins
MX Lonely members found each other through AA meetings, bonding over common artists and bands they listened to. Through conversations surrounding Chat Pile, Pixies, Elliot Smith, and their own musical projects, they began working on songs, some from Jake Harms’s solo project, during the COVID-19 pandemic.
In 2020, they released their album Dog under the name v0idb0ys. In 2022, they officially became MX Lonely, named after the sleep paralysis figure that would haunt vocalist and synthesist Rae Haas.
All Monsters
With an emphasis on personal demons and monsters, their upcoming album is an introspective exploration of self. Delivered with their heavy, murky, alt-rock sound and framed by light and soft pieces, ALL MONSTERS searches the dark corners and creates raw, vulnerable pieces of art.
ALL MONSTERS Album Artwork
“Most of the lyrics center around shadow work; internal and external monsters,” Haas says. “I think a lot about the neurodivergencies and the mental illnesses that make you feel like you’re a bad person at times. ALL MONSTERS is about, instead of killing yourself, killing your monsters. Destroying each and every one of these ideas about yourself by bringing it to light.”
ALL MONSTERS arrives via Julia’s War Recordings on February 20, 2026. Pre-order it here!
The album is their first self-recorded release, emphasizing the energy of their live show. MX Lonely is also currently in the process of building their own studio to control their own sound and build community.
“I think that’s kind of the manifestation or the prayer in this, is for everyone to be able to have that,” says Haas. “For everyone to have the space and tools to work through their own monsters, and work through each other’s monsters.”
Shape Of An Angel
The band explores the relationship between addiction, neurodivergence, and codependency in their brand new single “Shape Of An Angel.” Through raw, honest lyrics and their signature sound, MX Lonely have given a compelling second taste of their upcoming album.
“When I was first diagnosed with ADHD, I was prescribed a hefty script of adderall and I fell in love…I developed a heavy dependency on these creamsicle colored miracle pills and ended up craving more and more – until it began to consume me. I was constantly chasing that first dose of euphoria; refusing to look inward, continuously convincing myself ‘a higher dose will fix my problems, make me more lovable, guide me toward my goals- god dammit these drugs will make me a better person,” explains Haas. “You find yourself out of love with somebody but still needing them. Constantly chasing what used to be.”
Alongside the new single is a music video directed and edited by Owen Lehman. Haas is depicted in a wrestling match with Rosaleen Grimm while wearing angel wings. Between shots of the intense match are the band performing in the ring, including a moment where Haas is punched in the face mid-singing to the camera.
MX Lonely’s newest offering follows their announcement of ALL MONSTERS through their single, “Big Hips.” The single reflects on the gender dysphoria of trans adolescence through angsty riffs and catchy lyrics. It has since amassed thousands of streams and reached tastemakers at major publications, including Stereogum, who stated, “Lead single ‘Big Hips‘ is a seasick churn. The verses sound like the kind of indie rock that we used to call ‘angular’ in the ’90s. The chorus explodes into a full-on fuzz-rift eruption, with Haas screaming about having big hips for a boy.”
Following the band’s single releases after a decade-long hiatus, Drop Dead, Gorgeous has revealed the music video for their newest single, “Sink Your Teeth.”
Drop Dead, Gorgeous
Drop Dead, Gorgeous became an unstoppable force in the early 2000s with their emotionally-charged approach to post-hardcore. As teenagers, hailing from Denver, they released their debut, In Vogue, in 2006. The synthy breakdowns, theatrical flair, and raw vulnerability skyrocketed them into the spotlight. Then, they followed up with albums such as Worse Than A Fairy Tale and The Hot N’ Heavy, cementing their place in the scene.
The tastemakers at VICE tipped the band as that which helped to “perfect a style of post-hardcore that other bands would model themselves after. Where other bands in the scene would regurgitate the same testosterone-tinged bro-rock, Drop Dead, Gorgeous made their mark by putting [emotional] vulnerability into song.”
After a decade-long hiatus, core members Daniel “Stills” Stillman, Danny Cooper, and Jake Hansen returned in 2024 for surprise shows and the release of “Six Feet” in 2025. “Burn” followed soon after, continuing the momentum.
“Sink Your Teeth” Artwork
Sink Your Teeth
Following the previous singles comes the newest offering from the iconic group, “Sink Your Teeth.” The metalcore-infused emotional confession proves that they aren’t chasing the past, but building a new world and sound for themselves. The catchy melody and grim lyrics, such as “Sink your teeth into my neck / Swimming closer to my death,” showcase inner turmoil and reflect the struggle in finding strength.
“‘Sink Your Teeth’ is a dark, introspective track that turns personal struggle into resilience,” says Stillman. “Through vivid imagery and raw emotion, it explores confronting destructive patterns and finding strength in facing the darkness head-on.”
The music video, directed by Raul Rosco Guerrero, includes scenes of various old black and white movies, including Nosferatu. Intertwining the scenes are animated sections of the lyrics in a gothic font and a woman in a dress being stalked by clawed hands. The video is found here!
“Sink Your Teeth” is out now via Artery, find it here!
The Artery Foundation
Drop Dead, Gorgeous’ partnership with fellow industry titans of the ‘00s and ‘10s metalcore boom, The Artery Foundation, is a combination that makes perfect sense. In 2010, The Artery Foundation launched Artery Recordings, a label imprint that supported acts such as Chelsea Grin and Kublai Khan TX. Then, in 2025, they rebooted to a full service company.
Artery had helped guide talent from sweaty basements to some of the world’s largest concerts. The list of acts that started with Artery is extensive, including A Day To Remember, Motionless In White, Dance Gavin Dance, Sleeping with Sirens, and more.
The number one global power metal band, and one of Sweden’s most successful bands, has unleashed their historical, cinematic music video for “Crossing The Rubicon.” It arrived in the midst of the band’s world tour, debuting for over 20,000 fans in London.
Legends Album Artwork
Legends
“Crossing The Rubicon” arrived on Sabaton’s 11th studio album, Legends. The album was released on October 17 via Better Noise Music, making their label debut. Each song dives into the life and stories of a historical figure. This includes Jeanne D’arc (also known as Joan of Arc), Hannibal, Genghis Khan, Vlad the Impaler, Julius Caesar, the Knights Templar, and Miyamoto Musashi.
Legends is a bold evolution in the band’s storytelling, proven by their cinematic music videos. Now, “Crossing The Rubicon” joins “Templars,” “Hordes of Khan,” “I, Emperor,” and “I Tiger Among Dragons” in having one of its own.
Music Video
The video had its world premiere on December 4 at the sold-out “The Legendary Tour 2025” O2 Arena Show in London for a crowd of over 20,000 fans. Now, the video is available to view here. Before Sabaton took the stage, The Legendary Orchestra, a specially formed group with musicians like violinist Mia Asano, hurdy-gurdy player Patty Gurdy, and conductor/vocalist Noa Gruman, brought the arena to life with orchestral arrangements and choirs, setting the stage for the video’s debut.
“This was one of the most enjoyable music videos we’ve ever made. Everything flowed smoothly thanks to the amazing energy of the actors and the unique charm of the location. We spent two days filming in Sabbioneta, Italy, at the Teatro all’Antica, which is one of the oldest surviving indoor theatres in Europe. It was a fascinating location, full of character and history. Since the theatre operates as a museum during the day, we were only allowed to film in the evenings, which added a layer of challenge to the production,” says bassist Pär Sundström.
World Tour
The video premiered in the midst of Sabaton’s world tour, which began on October 6 in Istanbul, Turkey. The power metal pioneers will continue their 22-stop European leg across some of the continent’s largest venues. Then, on February 9, 2026, they will voyage to North America for 32 stops, including Los Angeles, Chicago and Boston. The tour will wrap up on April 20 in Vancouver, BC.
Under the leadership of Dimitri Dinas, Muk Posh artist management officially launched its label on December 4. Focused on real-life connections and quality, Muk Posh is cutting through the noise.
Dimitri Dinas headshot
Muk Posh Management
Dinas, born in New York and raised in Salt Lake City, went to school for A&R, then found himself in Toronto scouting for Universal Music Canada. There, he discovered the alt-R&B artist Sylo at an open mic night he was hosting. The two immediately connected, leading to Dinas’ move to Los Angeles and the establishment of Muk Posh management, started from the ground up.
Now, Muk Posh has returned to New York, and has represented and released music from Sylo, Amaarae, Maz, Juke, Mother Apple, Tobias Dray, Maddie Jay, Young Friend and Blair Lee over the years. Sylo now has an NPR Tiny Desk Concert and a COLORSxSTUDIOS session under his belt.
Quality Cutting Through The Noise
Muk Posh has always prioritized authenticity and enduring development for its artists. Growing sustainable careers, partnerships, and supporting creative projects is key to Muk Posh, and they are furthering this with the development of the label. Speaking on his approach to cutting through the noise, Dinas shared that what sets Muk Posh apart is, “Thinking outside the box independently, to fight against the algorithm. We are breaking rules in a saturated market where everyone thinks they have to follow them.” He continues, “Anything is possible, I don’t like to say no. It’s never too early to do anything or shoot for the stars/big opportunities.”
While in a world filled with AI, Muk Posh makes a point of holding real-life relationships with artists and creators. “The quality of the music will always cut through the noise. Patience and belief are what lead to tenured success,” Dinas concludes.
Muk Posh Artist Roster
Artists & Creators
The label is excited to welcome an array of artists and services for digital content creators. It has also partnered with The Orchard, which works in over 46 cities worldwide, to distribute their artists to the world.
Among the current roster is the aforementioned Sylo, who has now released a brand new single, “Seraphine”, which is available now! Formally known as Yumi Nu, Mother Apple, the globally renowned supermodel and Victoria’s Secret Angel’s artist project, had joined the Muk Posh label family. Alongside them is Blair Lee, who released her second EP, LIMBO, in 2024 with Muk Posh.
A creator that Muk Posh has recently begun working with is the music content creator and journalist Tia Ho. She is known for her work with Pigeons & Planes and KEXP. This year alone, she has teamed up with the likes of Coachella, Icelandic Airwaves, Beggars Group, XL Recordings, Ninja Tune, Atlantic Records, and more. Muk Posh’s step into the world of content creators is an innovative and bold move, and Tia Ho is the perfect fit.
Formed in 2003, Voxtrot quickly made a name for themselves with global attention for their EPs Raised By Wolves and Mothers, Sisters, Daughters & Wives, released through their own Cult Hero Records. After disbanding, the indie-pop/rock band made their much-anticipated return in 2022. The group has now announced their first full-length album in 18 years.
Dreamers in Exile Artwork
Dreams In Exile
The album, Dreams In Exile, was written and recorded all in Lockhart, Texas, the band’s home state. It came to life in bassist Joson Chronis’ Haunted Air Studio. Dean Reid, known for his work with Lana Del Rey and James Blake, took on the task of mixing the album.
Dreams In Exile is an album of renewal, passage of time, and the hope and connection that stays throughout. It expands their legacy rather than rebuilding it, continuing their early 2000s, blog-era sound.
The album will be released to the world on February 27, 2026. Physical versions of the album and merch are available for pre-order here! See pre-save here!
Fighting Back
Alongside the album announcement comes “Fighting Back”. The groovy, indie-pop/rock tune was inspired by Ramesh Srivastava’s time living in Los Angeles. It revolves around a period of uncertainty, transformed into something defiant and cinematic. The song captures the upcoming album’s core through its lyrical themes and sound.
Srivastava spoke about the single, stating, “I moved to Los Angeles in 2015. Voxtrot had been broken up for a few years by that point, so I decided to throw myself headfirst into the entertainment industry and see what Tinseltown had to offer. On the drive from Texas to California, I caught wind of a room for rent on Rosemont Street in Echo Park and agreed to move in, sight unseen.”
“My three roommates were musicians as well: two were in an indie band called Cold Violets (who opened for Voxtrot at the Regent Theater during our 2022 reunion tour), and the third was a bluegrass musician who plays in a band called The Hillbenders.”
He continues, “For a few weeks I worked for a courier company. It was early spring, so a big part of my job was picking up haute couture from boutiques on Beverly Hills’ Rodeo Drive and delivering it to actors and musicians to try on ahead of the Oscars and Grammys. Having had a bustling career myself not long before, a job like this was obviously a significant blow to my ego, but it catalyzed a long process of coming back to myself.”
“In general, those days were bizarrely shapeless. Often I would wake up at 5 a.m. and wander the streets of Los Angeles, stopping in coffee shops to write poetry and stare into infinity. But with that directionlessness came a certain levity, and I relished the nights hanging out with my roommates – drinking, singing, playing acoustic guitar, and listening to records. It was a freedom I hadn’t felt in a long time.”
“Musically, ‘Fighting Back’ echoes the catchy propulsiveness of early Voxtrot, but my favorite element is the cornucopia of synths peppered throughout. Jason and I borrowed a Juno and went to town! I love the dark ’80s atmosphere, and whenever I hear it, I picture the crimson-lit bar scenes in American Gigolo, which were filmed at the Beverly Hills Hotel… where I distinctly remember the doorman shouting that I had ten minutes to make my delivery before he was gonna tow my car.”
Video
The single’s accompanying Super 8-shot video was directed by their longtime collaborator, Annie Gunn, with cinematography by Peter Simonite. The mix of black and white shots blended with blue-tinted scenes creates the perfect atmosphere to mirror the song’s energy. Shots of the band performing are stitched together with depictions of various flowers before a blank background.
On the video, Srivastava shares, “The video for ‘Fighting Back’ was directed and filmed by our longtime friend and artistic collaborator Annie Gunn. She’s taken many pictures of us over the years, including the majority of our record covers, but this is our first time working with her on a video. Cinematography was by Annie’s partner, Peter Simonite, with whom she previously co-directed Explosions in the Sky’s ‘Postcards from 1952.’ Peter also brings a deep feature-film background, including second-unit and additional photography work within Terrence Malick’s filmmaking world (including The Tree of Life, To the Wonder, and Song to Song), and he has also directed music video work for Spoon.”
Gunn said, “I’ve been collaborating with the band since the early 2000s on stills for album artwork. The visuals I’ve made for the band have always been in the analog black and white world so it felt fitting that the video for ‘Fighting Back’ also be shot on film. I wanted to bring some of the grainy, textural, imperfect nature of the stills we’ve done into motion. Peter Simonite as cinematographer brought his 1960s super8 camera and we shot on different film stocks, embracing all the organic the fame lines, light leaks, grain and imperfections we could. I hope the result feels like a moving collage of the band’s performance and I love how it ties into the visual world we’ve been creating for the last 20+ years.”
North American Tour
Voxtrot has announced their North American Tour in support of the album. The tour is stopping in Los Angeles, San Francisco, Seattle, Chicago, Toronto, Brooklyn, Washington, D.C., and more. See the full tour dates below.
The Bandsintown presale is available now and can be fround here! General on-sale begins this Friday.
The Swedish modern metal force has unveiled their third and final single from their upcoming EP, accompanied by a cinematic music video. With the EP set to release in January, the band continues their legacy of vulnerable, melodic, and signature heaviness.
Everything Is Fine
In anticipation of The Wilted EP, Paleface Swiss has released “Instrument of War,” “Let Me Sleep,” and now, the emotionally packed “Everything Is Fine.”
“‘Everything Is Fine’ tells the story of two lovers caught in situations they cannot change,” says frontman Marc “Zelli” Zellweger. “They face unfair trials that wound them, yet they try to accept what neither wants to accept. In trying to numb the pain, it only cuts deeper because they keep asking why love fails even when they’ve done everything right.”
The single is also one of the most cinematic and raw moments in the band’s history, featuring a music video directed by longtime collaborator Kriss Jakob. It cycles through themes of love, death, and dissociation with heartbreaking visuals and breathtaking cinematography.
Paleface Swiss’s upcoming EP was written across months of mostly sold-out tour dates across the world. The lyrical content follows the burnout, emotional collapse, and uneasy regrowth that joins life-altering success and navigating what follows. If their hit album Cursed represented the breaking point, The Wilted EP is the aftermath. It is the hollow quiet, mental spiral, and attempts at maintaining momentum.
The EP continues the band’s visual identity with flowers. The blooms featured in Cursed artwork have now turned curled and brittle in The Wilted EP, continuing the narrative.
In a world full of easy-to-digest, similar-sounding production, there are a couple of artists who choose a new path. Love it or hate it, the one thing everyone knows about Sematary’s production is how unique and singular the sound is. Sure, there may be attempts at inspiration, but none quite match the tones, feel, and fingerprints of Haunted Mound. The rapper/producer has been releasing music for an online audience for over six years now. As the head of a collective, he leads the charge of a new brigade armed with masks and chainsaws.
Originally taking off on message boards and social platforms, his sound is the personification of someone driven through the noise to find his own sound. Blending sounds from a multitude of eras and samples that are sometimes so short that he is the only one who catches them. He dropped a mixtape this Halloween. Inspired by the deterioration of American cities, the production takes on an Island of misfit toys-esque feel. Taking things people may have overlooked, forgotten, or left in the past and blending them into his own product ready to be heard by the masses.
HP: How has your year been so far? Zane: Good, I was just working all year on the Halloween mixtape, HAUNT-O-HOLIXXX, I just dropped. Now I’m working on music videos for that.
HP: Are you filming at the Butcher house or different places? Z: Different places, I’m in upstate New York now. Had to finally leave there. I was there for a few good years. So, I’m out here now in Sopranos country, just somewhere new. Still in the woods, though, shooting videos out here.
HP: When it came to your most recent projects, you talked about inspiration from Gucci Mane and Zaytoven. In another interview, you talked about being really proud of the Three 6 Mafia sample. What type of influence do you find from that Southern Trap sound that really clicked with you? Z: I feel like no one’s really combined it with sort of the newer plug-style drums and sort of witch house influences. I don’t feel like I’ve heard anybody really explicitly pull those influences back into sort of the newer stuff that’s going on now and that I’ve been doing. I never really explicitly combined it; specifically, that distinct sound brought it back, instead of just being an influence, like it is on everything now. Explicitly pulling back those vocal samples and those loops and stuff and combining it with the newer sound. It’s also sort of the mixtape sound from 15 years ago. I feel like I haven’t heard anybody do that specific combination. So I was happy that I kind of successfully combined a few different generations of underground trap music into one thing. I feel like, for this mixtape, which I hadn’t really heard. People do it, obviously, the Memphis stuff, but I feel like it was just cool to do it for a whole tape like that.
HP: When you do it, are you thinking about blending generations together, or is it more a specific sound that ends up pulling from different places? Z: It varies from song to song. A lot of times, I have a lot of samples and songs that I like. I’m just listening, and then my DJ software is a big part of it. Thinking up songs or loops, and I’m like, “Wow, that sounds cool. What if I add my drums here and do my own vocals? ” Then it just comes together.
HP: Who is your GOAT of that southern trap sound? Z: DJ Squeeky is obviously the one who invented all of it, the starter. So definitely him. I really like DJ Zirk. These are old guys I’m talking about now. But definitely those OG dudes, and obviously like Triple 6 Mafia, when they were called Triple 6 Mafia, the super Halloween, mystic styles, that kind of shit—really like that. Children of the Corn is a really good group, Graveyard Productions, they also call it. Just the most hardcore Halloween kind of sounds, even though it’s all pretty Halloween. But those are my favorites.
HP: There was a lot of sampling that I got a Cloud rap feeling from. Was there any inspiration from that style? Z: I mean, that’s always an influence. I’m listening to the same music everyone else is listening to and seeing how it’s impacting mainstream and underground stuff. I started rapping because of Young Lean, seeing him in 2016, and I’m pulling from all the same stuff everyone else is pulling from. So there’s always going to be some of that influence. But I was definitely trying to evoke and kind of be in the style of, like, old things before cloud rap. I listen to a lot of old New York, French Montana, and Max B, the way they do those super tacky samples and stuff. But because I grew up with Cloud rap, that’s always probably going to be in my bones of how I sample things, but I’m trying to go back to older stuff and freshen it up, do something different, because a lot of people are influenced by Cloud rap.
HP: How do you balance the influence with trying to create your own sound? Z: I feel like, because I’m combining things that most people wouldn’t think to combine a lot of the time, it kind of just, by nature, sounds somewhat new, at least to me. There’s a song on the mixture called “HONDA CIVIC,” where I have this super old, like, or not, what’s a better example? The song “LAURA,” which is the fucking “Twin Peaks” theme, is the main sample, “Laura Palmer’s theme.” And then there’s the “Playa Hataz” sample, that classic Triple 6 Mafia song, playing together. Then it’s like, plug in MexikoDro drums. With all my vocal influences and Ghost Mountain, Wicca Phase. I’ve never heard a song like that before, so I feel like just by the nature of what I’m combining, it comes out pretty new.
HP: Speaking on sampling, what do you think is the most niche sample on the record? Z: There are quite a few. There are so many little things in there. The “WOODSMEN” sample is actually a Children of the Corn sample, which is a really obscure Memphis group. It’s a group called that, and the songs are also all called “Children of the Corn.” I sampled that and was pretty hype. The “MEET UP AND DIE” song—there’s actually a Salem demo, this weird old guitar Salem song looped right there. I don’t think anyone peeped, which was hype to sample.
HP: With this mixtape being 28 songs and the first one of yours with this much content. Were there any songs that you thought about removing but ended up keeping that resonated with fans? Z: I don’t know; it’s kind of tough to see this early. I feel like when I make a video for a song, people tend to like it more. So I feel like it’s kind of up to that. I don’t know the last song, “‘TILL THE ROBINS COME.” I didn’t love it at first, but all my friends told me I needed to put it out. So I did. A lot of people like that song. I don’t really see a lot of the reactions myself. So I just kind of put it out for me and hope people like it.
HP: I know you said you prefer escapism to preachy art, but I do think there is something philosophical about your music. Is there anything you put into that category? Z: There’s definitely lots of meaning for me and a lot of things I’m saying and the samples I’m using. It’s all pretty meaningful for me, but I feel like I try to let people take from it what they want to take from it. You know, I feel like that’s how good artists should be, but I don’t know there’s a lot; there’s a lot of meaning for me in the samples I’m using, and stuff like the “HONDA CIVIC” sample, that’s an old black metal song I’ve listened to for years and years and years and, like, made mashups with before, and it’s pretty meaningful to me.
HP: We both share growing up in redneck-adjacent areas. Do you think that affects the way you look at music or consume music? Z: I don’t know, maybe just because I was the one showing myself the music I grew up with. There wasn’t really a community I was in that showed me stuff. It probably gives me my own perspective on everything.
HP: The reason I asked is because your sound is very unique. Almost pioneer-esque in the way you combine styles or sounds. Do you think that background of being differentthan the people around you gives you the confidence to do it now in a different space? Z: Yeah, definitely. I mean, it’s definitely pretty outsider stuff. It kind of stands alone, I feel, and maybe not as much now. I feel like there are artists coming out now that are inspired by me, and I consider them peers now. I know smokedope2016; he personally told me that he was inspired by Grave House when he was starting out. So, I think now people are taking inspiration, because I’ve been around for a few years, but it still kind of stands alone. I don’t know if anyone else could have made it or can make it the way my guys and I make stuff. It’s kind of like the entire bones of what I do, you know. I don’t know if I would have been confident enough to make music at all if I felt like I was doing the same thing as everyone around me or within the scene. I don’t know how I would have felt if it were even worth putting out.
HP: Any last message for the readers or fans? Z: Thank you to everyone who believes in Sematary, the Haunted Mound, and our underground art that we put out. Thank you for talking to me and having me on the site. Thank you to everyone who believes in us and everyone who listens. Listen to the new mixtape, HAUNT-O-HOLIXXX. I’m putting out new music videos for it, and I’m going to keep working on new music after it. There’s no stopping Haunted Mound; it goes forever.
