A new metal reinterpretation of Internet Girl, originally by KATSEYE, is scheduled for release on March 12 as the first officially licensed metal cover of the song available on streaming platforms. The track features vocals by Fae Fatale, a Los Angeles-based singer, in collaboration with producer and musician Derek Hung.
The project originated through interaction on TikTok, where Hung shared a metal instrumental version of the song incorporating the original KATSEYE vocals. After receiving a comment suggesting the addition of more aggressive, “girly scream’’ style vocals, he invited the vocalist to participate in a full collaborative cover.
The remix gained early online traction, with the TikTok instrumental clip attracting significant engagement, including a comment from Megan Skiendiel.
Based in Anaheim, California, Hung is a metal vocalist, guitarist, and producer with a following of over 60,000 users on TikTok. His career highlights include a feature appearance during Thirty Seconds to Mars’ 2023 performance at Lollapalooza and his work leading the metal projects Catalust and Luxe Exit. His latest single has surpassed 200,000 streams and forms part of the promotion cycle for an upcoming collaborative album with Dal Av.
The remix was mixed and mastered by Scottay Seigel, whose portfolio includes work with acts such as Woe Is Me, Jackson Rose, Darknet, and Andy Cizek.
The single release is accompanied by custom artwork and a Spotify Canvas visual created with digital artist Eliza. The visual concept combines cyber-goth and digital-grunge aesthetics while preserving the emotional tone of the original composition and reflecting the artistic identities behind the project.
Get ready!! This metal reimagining is about to hit your speakers!
“Don’t worry, I’m in therapy.” It’s the kind of line that makes you laugh before you fully register what came before it. MINOE is talking about her new single “Loophole,” a song about dissociation, abuse, and mentally checking out when someone is hurting you. It sounds like a floor-filler.
“Loophole explores the feeling of mentally stepping outside yourself when someone is yelling at you, using restraint and distance as a way to survive,” she explains. “I touch on how I really loved this person and I did everything to protect their abuse, hide it away, I let in their negative words and believed them — until I found the loophole: I’m literally just not going to let anything in. Lalalala can’t hear you! It’s almost a cheeky response to very serious abuse but hey, don’t worry, I’m in therapy.”
Making people move to something this heavy is a choice, but MINOE doesn’t really frame it that way. For her, the humour and the heartbreak just coexist naturally. “I think there’s a humour in it, and I love comedy, it’s always been a part of who I am. I love a good coping mechanism, and I don’t really like to sit in my feelings for very long personally, so maybe the dance element of it is providing a solution at the same time we’re addressing the problem. But it’s not intentional. It just feels natural for me.”
She’s been finding ways to process things through music since she was seven years old, writing songs in a home where there wasn’t much money and even less space to be heard. “Songwriting gave me a creative outlet that I didn’t need any materials for, and because we didn’t have much money growing up that was really important. I was really shy and introverted as a kid, I had a lot to say but nobody to talk to about it, and (very luckily) musical genetics, so it was such an important tool for processing, really the only tool I had.”
I first caught MINOE live when she opened for Tom Grennan back in 2022. Where songwriting once functioned as a private diary, it now operates as something closer to a shared language. “Now that I’m an adult it’s become more of a language than a diary. I love working with other people and helping other artists understand their own feelings through this skill that I’ve cultivated for so long. It has become more about connection for me than something to do alone, but I’ll always write alone in my room sometimes.”
The traumas explored on “Loophole” are ones she’s been circling for years, waiting for enough distance to finally address them directly. “The traumas I reference on this track are things I’ve wanted to write about for a long time but never had the courage to. I finally feel enough distance from the situation to speak about it openly, which is scary but also freeing. I hope it reaches young people who might really need a song like this. That’s more important to me than privacy.”
After being ousted as a teenager in Nova Scotia, she moved to Montreal at eighteen to start over, enrolling in a fine arts program and giving herself room to simply breathe. “The move was so important. I was only eighteen when I moved and I was going to university for fine arts, I wasn’t thinking about music for a little while because I just let myself breathe. I was happy crying all the time because I had a place I could call home. The music focus came back after my nervous system calmed down, and then it was just fun and exciting to work with so many talented people in the city. It’s home.”
Montreal has shaped her in ways that are hard to untangle from everything else, though she’s candid about where she fits, or doesn’t, in its music landscape. “I love Montreal, my whole adult life has been here so I definitely feel like the music has those roots, but there isn’t a huge queer pop music scene here so I’m not sure if it ‘fits in.’ I’m excited to be part of a new generation of Montreal music.” Her upcoming project attempts to honour both places, blending her current sound with a Nova Scotian past she’s come to appreciate from a distance. “I’m so proud to be Nova Scotian, I’m in love with Montreal, and I’m excited to blend those vibes together.”
The community she’s built around her music reflects those same values. Bleeding Hearts Disco was described from the outset as uniting “the pop girls, gays and theys,” and the response confirmed she’d found her people. “Building that community starts with the music. As a queer person I can feel when something is made for our community, or when it speaks to us; it can feel friendly, sexy, fierce. It addresses topics head on that mainstream pop might shy away from. My references are all queer culture, my friends are all queer, so really when I say that I mean I’m making music for me and my friends and inviting others to join our party. I know when it’s working when my friends like what I’m doing, but also when I get these really heartfelt, funny, talented queer people in my comments online. That’s the best.”
Since Bleeding Hearts Disco, MINOE has released three standalone singles: “Jealous,” which debuted at Osheaga, the collaborative “Lollipop” with Slater Manzo, and “Liquorlips” with fellow Canadian artist Renon, the latter now approaching a million streams of its own. The collaborations have stayed intentionally light in emotional weight, kept in what she calls “a fantasy land,” which she sees as the most natural way to open the creative process to others without giving too much away. “Both of those songs are pretty lighthearted, fun, sexy; they don’t dive into anything too personal and remain kind of in a fantasy land, which I think is a good way to collab with others. I think keeping it fantastical helps put both people on a level playing field.”
The Osheaga debut with “Jealous” came with its own hard-won lesson, not about the performance itself, but about what surrounded it. “I did learn something from that but it may not be what you’d expect. I changed my release strategy after that show because I was so busy preparing for it and feeling big emotions that I had a hard time promoting the track before and after the gig. It was amazing to preview it there and the crowd was awesome, but I think now it’s better to separate releases from big career moments like that so I can give them all my attention.”
Last year’s “Teenage Disillusionment” signalled something new was coming, drawing on earlier influences including Clams Casino, Imogen Heap, and Lykke Li. “Teenage Disillusionment is a taste of my influences as a little girl, and they’re all coming back on my project. In this scenario, I leaned on artists I grew up on while writing songs about my life in that time period. I’m never loyal to a genre so I can best communicate the story and the emotion I’m feeling, and I know that’s not the most brand-savvy thing to do, but that’s what feels right to me.”
“Loophole” continues that thread, but MINOE sees it less as a sequel and more as a true beginning, the actual starting point for the story she’s been working toward. “This chapter is really chapter one. I’m doing a Star Wars thing where Bleeding Hearts Disco was more representative of me now, as an adult, while my upcoming work will tell the story of where I come from. I want to purge my childhood so I can root the rest of my work in the fundamental truth of my experience. I want to invite people in.”
And the legacy she’s after? She already knows. “I think it’s very on brand for me, something that makes you wanna dance with super depressing lyrics. If that’s my legacy, I’ll die happy.”
Is The Great Satan One Of Rob Zombie’s Strongest Modern Records?
Yes. It doesn’t reinvent his formula, but it sharpens it into one of his tightest, most focused releases in years.
TL;DR
The Great Satan finds Rob Zombie doubling down on the horror-industrial stomp he built his legacy on. The riffs hit hard, the production is massive, and tracks like “Out Of Sight” and “Black Rat Coffin” punch with conviction. It’s not experimental — it’s committed.
★★★★☆ (4/5)
From La Sexorcisto to arena-sized horror operas, subtlety has never been Rob Zombie’s currency.
What I didn’t expect with this album was this level of clarity.
At this stage in his career, Zombie isn’t chasing radio. He’s not trying to modernize himself for streaming playlists. The Great Satan sounds like a man who knows exactly what he does — and is doing it with renewed muscle.
Where some of his past releases sprawled, The Great Satan stays locked in. The riffs feel direct. There’s less wandering, more impact. You hear it immediately on “Out Of Sight,” which hits with a swagger that feels spiritually connected to the White Zombie era without sounding dated.
“Black Rat Coffin” carries that same tenacity — tight, stomping, and built for live chaos.
Losing longtime guitarist John 5 could have rattled the foundation. Instead, the guitar work feels meaner, less ornamental, more blunt-force.
This isn’t flashy. It’s effective.
There’s an almost stripped-down aggression here that works in the album’s favor.
The Vocals: Pure Ringmaster Mode
Zombie doesn’t really “sing.” He commands.
Across The Great Satan, he alternates between carnival barker, sermon-giver, and blood-soaked storyteller. That husky baritone remains unmistakable. It’s theatrical without feeling forced because he commits completely to the character.
When he delivers titles like “Sir Lord Acid Wolfman” or “The Devilman,” you either buy into the world — or you don’t.
If you’re here, you probably do.
Mid-thought: if you’ve ever seen him live, you know these songs are going to translate into absolute stage spectacle.
If you’re hoping for the reflective detours of Educated Horses, you won’t find much of that restraint here.
This is Zombie at full bore.
He’s not revisiting introspective territory. He’s building atmosphere and detonating it.
And frankly, that confidence feels earned.
Why It Works In 2026
There’s something refreshing about an artist who doesn’t pivot just because the industry shifts.
Zombie has always existed slightly outside the mainstream current — too theatrical for purists, too heavy for pop radio, too horror-obsessed for safe playlists.
The Great Satan doesn’t attempt to bridge those gaps.
It doubles down.
That commitment is what makes it compelling.
Verdict
Is it revolutionary? No. Is it powerful, cohesive, and distinctly Rob Zombie? Absolutely.
Four decades into a career that spans platinum records and blockbuster films, he still sounds like himself — and right now, that authenticity hits harder than trend-chasing ever could.
Rating: ★★★★☆ (4 out of 5 stars)
FAQ
Is The Great Satan A Return To White Zombie-Era Sound?
Spiritually, yes — particularly in its groove and aggression — but it maintains a modern production weight.
Does The Album Experiment With New Styles?
Not significantly. It refines and sharpens Zombie’s established horror-industrial formula.
Are There Standout Tracks?
“Out Of Sight” and “Black Rat Coffin” deliver some of the record’s heaviest and most immediate moments.
Is This Rob Zombie’s Best Solo Album?
It’s among his strongest modern-era releases due to its focus and cohesion.
Band Bio
Rob Zombie emerged from the New York underground with White Zombie before launching a solo career that fused industrial metal, horror cinema aesthetics, and arena spectacle. Beyond music, he has directed cult and mainstream horror films, cementing his status as one of heavy culture’s most recognizable figures.
There’s a burgeoning old school 80s trve metal movement growing these days, with more and more young bands longing to sound really olde. Steel is there for that, as it speaks directly to his ancient bones. A good number of these retro sword-swinging acts seem to be coming out of Sweden of late. We covered Century’s Sign of the Storm last year, and here comes Templar with their Conquering Swords debut, which was produced by Century’s Staffan Tengnér. As a fan of conquest and swords (and that awesome van-worthy cover art), I’m the target audience for this early 80s throwback insanity, which steals from cult acts like Manilla Road, Cirith Ungol, and Brocas Helm as well as NWoBHM heroes like Satan and Witchfinder General. All this is to be expected, but what I didn’t see coming was the hefty Mercyful Fate influence that Templar throw around like a 50-pound sack of wet concrete. On paper, that should not work, but does it work in your tin ear? Let’s take a peek.
After a rousing, table-setting intro, you’re launched into “Witchking” and greeted by classic 80s guitar lines with a burly trve vibe sure to get your lust for battle growing. When Isak Neffling starts singing, those familiar with the Mercyful Fate demos and the original EP will hear a notable similarity to an early-day King Diamond. I don’t mean the high-pitched falsettos, but the ominous baritones he used regularly before he became a faux-evil cartoon character. One could also say Isak also reminds of The Night Eternal’s Ricardo Baum, who borrowed a lot from Mr. Diamond vocally himself. Either way, it makes for an interesting listen as Isak sings of Tolkien baddies, swords, and sorcery. “Excalibur” is all beef and chest-pounding bravado with a galloping pace, scrotal power to spare, and a chorus that feels just epic enough. It hits all the nostalgia bells and feels ancient as fook, but it can still beat your ass like a back-alley thug.
Elsewhere, “Exiled in Fire” is fast, fist-pumping classic metal with sweet guitar work and a rowdy, rough edge that takes me back to the dirty, unpolished NWoBHM days. “Shipwreck” is another riffy good time with a vague In Solitude vibe, and “White Wolf” is about as epic 80s metal as it gets without lapsing into Spinal Tap levels of parody. At a tight 40 minutes and with all songs contained in the 4-5 minute window, there’s not much fluff or blubber on the compositions. The only drawback is that the writing routinely sits in that “good and almost very good” pocket, never fully reaching that next level of badassery. It’s an easy, entertaining spin, but it won’t blow anyone’s mind or make many end-of-year lists. The production is painstakingly designed to sound rough and vintage, and it does hit that 1980-1982 aura with a warmth and texture that modern recordings often lack.
Gustav Harrysson and Teddy Edoff bring the sounds of proto and epic 80s metal to the Great Hall, cleaving closely to the NWoBHM blueprint but always injecting that grand and glorious edge to their playing. I hear many hints of early Mercyful Fate and Satan in their choices, and the Manilla Road-isms are there too. I don’t know if Isak Neffling was trying to channel King Diamond, but he certainly does, and that adds to the nostalgic appeal. Listen to “White Wolf,” and you hear the earliest days of Mercyful Fate, and that’s undeniably cool. His vocals don’t always work, though, and things get especially weird and awkward on “The Sorceress.” In toto, Isak gives Templar an X factor the band wouldn’t have otherwise, and that certainly works in their favor despite a few misfires.
Conquering Swords is an interesting and engaging debut from a band that have the potential to be much more. There are moments scattered across the album that hint at greatness, and maybe with more time and effort, those parts lead someplace special. As things stand, Templar are a good throwback band with one foot in the past and the other looking for the next place to stomp. Where they go from here will prove interesting. Worth checking out for the love of Diamond and rust(ed swords).
On September 19th, the LOVE.NOISE.FREEDOM FESTIVAL lands in the UK for the very first time, featuring sets from Might, Bulbul, Confusion Master, Noisepicker, and Endure.
LOVE.NOISE.FREEDOM, the beating heart behind every gathering curated by Exile On Mainstream has always been a statement. A celebration of heavy music, stubborn independence, and the deep bonds that hold this scene together. And now, that legendary, road-worn, heart-driven vibe finally takes over Downstairs at the Dome in London for one intense, unifying day. This is not a random lineup. This is family.
Might brings their uncompromising blend of crushing heaviness and raw melody, a band forged in volume and conviction, known for turning every stage into a cathartic release. Their sound balances massive riffs with emotional weight, the kind that lingers long after the amps cool down. Their sound is massive, yes, towering riffs and crushing low end, yet beneath the volume lies vulnerability. When they hit, it feels like standing in a storm that somehow holds you upright.
Bulbul, underground lifers from Austria, have built their legacy the hard way, through decades of stubborn independence and fearless experimentation. Hypnotic, abrasive, uncompromising, they prove that repetition can become ritual, and noise can become transcendence. They are a reminder that art survives because people refuse to let it die.
With sparse need for words, Confusion Master speaks through colossal instrumental passages that blur the line between doom, sludge and psychedelic drift. Their music feels like a slow-burning horizon; meditative, heavy, and deeply human. It’s the sound of patience meeting power.
UK powerhouse Noisepicker brings grit, groove and heart. Road-worn, hook-laden, and unapologetically loud, they channel the raw pulse of heavy rock ’n’ roll into something immediate and communal. Sweat on the walls. Smiles in the crowd. Riffs that feel like old friends.
And then there’s Endure – a new chapter written by members of Hands Of Omega. Born from experience, loss, growth and persistence, Endure embodies an evolving spirit: heavy, honest, and driven by connection.
LOVE.NOISE.FREEDOM isn’t about hype. It’s about shared vans, shared stages, shared stories. It’s about a label that built its reputation on loyalty and artistic freedom, finally bringing its community across the Channel. This is about showing up. For the music. For each other. For the idea that independent art still matters, not as nostalgia, yet as necessity. One day. One stage. One circle of trust. A gathering.
London, get ready to feel what Exile On Mainstream has always stood for: LOVE. NOISE. FREEDOM.
Tickets for LOVE.NOISE.FREEDOM FESTIVAL are available RIGHT HERE, and more info is posted HERE.
Exile On Mainstream Presents:
LOVE.NOISE.FREEDOM FESTIVAL – w/ Might, Bulbul, Confusion Master, Endure, Noisepicker
9/19/2026 Downstairs At The Dome – London, UK [info]
There’s a burgeoning old school 80s trve metal movement growing these days, with more and more young bands longing to sound really olde. 
