Max Vanderwolf returns with โTwice in a Lifetime,โ a sharply penned single that blends biting satire with spiritual allegory to critique the cultural machinery that mythologizes and exploits artists long after their deaths. Released as part of the Vanderwolf Singles Club, the track doesnโt flinch in calling out the corporate co-opting of art, ideas, and identityโand does so with a rock-and-roll snarl.
From the opening moments, the track grabs your attention with a playful yet precise drum groove. Vanderwolfโs vocals are high, slyly humorous, and delivered with theatrical flairโhe sings like a man both inside the madness and mocking it. The tone feels lighthearted, even fun, but the message is anything but soft. This is protest music in a costume: subversive, smart, and entertaining.
Midway through, shimmery guitar lines slash in with melodic sharpness, integrating depth and drive to the sonic palette. Ethereal backing vocals float in, crooning with ghostlike beauty as if echoing the songโs central thesisโabout how rock stars, like Christ figures, are immortalized, branded, and endlessly resurrected in box sets and bio-pics. Vanderwolf connects the dots between martyrdom and marketability, naming names like Janis, Jimi, Cobain, and Lennonโnot to mourn, but to provoke.
The accompanying animated music video, directed by George Panagakos, mirrors the trackโs layered meaning with visual allegory and symbolic storytelling, framing the narrative like a modern-day gospel of exploitation. Think Life of Brian meets Behind the Musicโirreverent, incisive, and unforgettable.
โTwice in a Lifetimeโ is protest rock for the post-streaming age. Check it out on Spotify.
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Review by: Naomi Joan