John "The Rock" Cena, Can You Smell What the Undertaker

On its surface, "John "The Rock" Cena, Can You Smell What the Undertaker" has a seemingly absurd, wrestling-themed title that suggests a lighthearted or humorous track . However, this is a signature trope of Hot Mulligan, masking a deeply serious, raw, and devastating exploration of religious trauma and body dysmorphia .

Written from the personal experiences of frontman Tades Sanville, the song dissects how a conservative Christian upbringing—specifically the shame associated with exposure and the physical body—damages a child's self-image into adulthood . Sanville has explained that around age 12, he felt intense shame wearing a swimsuit at a water park because he was taught that showing his body was sinful . Although he lost his faith at age 16, the psychological damage persisted in the form of dysmorphia and a complex of feeling inherently 'evil' or 'crooked' .

The lyrical themes touch on several key concepts:

• Conditional Community Love: The lines "Losing faith is losing all the folks you thought might give a fuck / That's only in their house" critique how the warmth and support of a religious community vanishes the moment one questions the dogma . Support is shown to be conditional, existing only within 'their house' (the church) .
• Internalized Purity Culture and Intimacy Issues: The chorus reveals how the church's teachings have crippled the narrator's ability to navigate physical intimacy, feeling only 'damage' when touched . The physical body becomes a source of fatal shame rather than comfort.
• Coping and Self-Harm Ideation: The urge to peel off skin or seek escape in substance abuse ("Hoping this next shot hits / Maybe then I'll forget") represents the desperate desire to escape a physical form that has been permanently coded as sinful by religious authority figures .

The protagonist begins by describing a state of high tension, with a steady pulse while feeling an overbearing, spiritual pressure—the persistent whisper of the "Holy Ghost" demanding their return . This spiritual entity, and the culture surrounding it, instilled a deep-seated hatred for their own physical form . Carrying physical and emotional scars that are incredibly difficult to conceal, the speaker retreats into themselves, seeking safety by sleeping fully clothed to hide from the world and their own gaze . They reflect on how this isolation was not what their religious community or family wanted, yet it was the inevitable result of their rigid doctrines .

They recall growing up attending religious classes, such as "Wednesday school," and chanting praises of a great deity, while simultaneously feeling their faith erode . They realize that losing their belief means losing the very people they thought cared for them, exposing the harsh truth that communal love and support are highly conditional, restricted only to the boundaries of the church building . Forced to choose between self-hatred to remain devout or facing total abandonment, they find themselves in a prison of their own mind . Identifying as the symbolic "patron saint of all dysmorphic," they express a visceral desire to physically tear off and destroy their own skin .

In the chorus, this pain reaches a fever pitch as they confess that they can never find a place to hide . If exposed to a bright, unforgiving light, every flaw and "crooked line" of their existence would be laid bare . They have internalized the church's teachings as a message of inherent shame, rendering their very nature "fatal" and corrupted . This profound damage has ruined their ability to tolerate physical intimacy or touch, reducing every contact to a source of trauma . Desperate for escape, they turn to drinking, hoping that the next shot of alcohol will finally grant them temporary amnesia to forget the deep-seated damage inflicted upon them .

Despite the anger, they spiral back into self-blame, wondering how they could have been so bold as to question the scripture or the words of their elders . They are trapped by the passages read between the lines, which constantly reinforce the notion that both their mind and body are inherently disgusting . In the final, haunting transition of the bridge, they plead for a body that they could actually fit into—some different skin that does not carry the weight of a manufactured sin—while desperately asking if this torment is truly their own fault .

The song serves as the powerful closing track of Hot Mulligan's third studio album, Why Would I Watch, released on May 12, 2023, through the indie label Wax Bodega . It was recorded in 2022 and produced by the band's long-time collaborator, Brett Romnes .

According to lead vocalist Tades Sanville, the lyrics are directly autobiographical . In track-by-track breakdowns, Sanville has bluntly shared: "Christianity sure fucks up a lot of kids, eh? I remember being like 12 at a water park and feeling ashamed of my body in a swimsuit because I thought being that exposed was sinful. I lost my faith when I was almost 16 but the damage was done. Here I am now with body dysmorphia and some kind of complex about being evil."

Regarding the song's bizarre title, which strings together three WWE legends—John Cena, Dwayne "The Rock" Johnson (styled after 'The Rock'), and The Undertaker—Sanville revealed in a 2025 interview at the Slam Dunk Festival that it was born out of complete indifference and a play for attention . He explained that they wanted to see if they could cram as many names as possible into one title to see if any of the wrestlers would notice them (though sadly, none did) . The band has established a long-running joke of naming incredibly depressing songs with humorous, unrelated pop-culture references, a juxtaposition that has become a defining characteristic of their brand .

The song employs a conversational and erratic rhyme scheme, leaning heavily on slant rhymes and internal rhyming rather than rigid perfect rhymes. This structural choice mirrors the chaotic, unsettled headspace of the narrator:

• Slant and Internal Rhymes: The opening lines link "whispering" and "persistent," and later, "body" with "clothed" . The rhyme in "dysmorphic" and "torch it" is a stark, jarring internal rhyme that highlights the self-destructive thoughts . In the chorus, the rhythm links "got", "shameful", and "fatal" .
• Pacing and Rhythmic Interplay: The rhythm of the song mimics the physical symptoms of an anxiety attack. The song opens with a relatively steady, slow tempo reflecting a "pulse consistent" . The delivery is conversational, with breathy, hurried phrasing. When the drums kick in, the pacing accelerates drastically, and the meter becomes frantic. The syncopated drum beats during the chorus push Sanville to deliver the lyrics in a breathless, almost overwhelming cascade of words.
• The Climax: The bridge slows down the rhythm, allowing the repeating plea "just needed a body that I could fit into" to stretch out, giving the listener a painful, lingering look at the narrator's exhaustion .

Hot Mulligan expertly uses both literary and musical techniques to heighten the emotional devastation of the track:

• Vocal Delivery and Dynamic Shifts: Tades Sanville's vocal delivery is incredibly raw, featuring his signature "sandpaper" scream-singing . The song begins with a quiet, almost defeated vulnerability accompanied by a simple guitar riff, building up in intensity . When the chorus hits, Sanville's screams are frantic, conveying the visceral panic of suffocating in one's own skin.
• Dual Guitar Play and Midwest Emo Twinkle: The interplay between guitarists Chris Freeman and Ryan Malicsi is essential. They utilize the iconic, bright, 'twinkly' Midwest emo clean riffs during the verses to create a contrast . This sweet, melodic guitar work juxtaposes the dark, painful subject matter, making the lyrical blows land even harder .
• Irony and Satire: The line "Wednesday school, how great's my god" uses biting irony . It mimics the forced enthusiasm of Sunday/Wednesday church schools, contrasting the joyful praise with the terrifying psychological scars being inflicted behind the scenes.
• Layered Backing Vocals: In the final chorus and bridge, Chris Freeman's backing vocals provide a secondary emotional layer, desperately repeating "hide enough" and "line I've got," echoing the narrator's fragmented state of mind .

While not released as a commercial radio single, "John "The Rock" Cena, Can You Smell What the Undertaker" has achieved a massive cult status and critical acclaim within the alternative and emo music communities:

• Critical Reception: Critics highlighted the track as a masterpiece of the album. Paste Magazine praised its deep lyrical value, noting that its exploration of religious trauma and dysmorphia complements the album's sweet, sugary instrumentation in a beautifully contrasting way . New Noise Magazine noted that ending the album on such a severe, heavy note was a bold move that Hot Mulligan executed brilliantly, cementing it as one of the most complete songs in their entire catalog .
• Fan Devotion: Among fans on platforms like Reddit, the track is universally regarded as having some of the band's most powerful, heartbreaking lyrics . Listeners with experiences in religious deconstruction and purity culture have adopted it as a therapeutic, highly emotional anthem .
• Live Performance Impact: Despite its heavy and deeply personal nature, it has become a staple of Hot Mulligan's live sets, eliciting massive, emotional sing-alongs. In live settings, the dynamic shifts from the quiet verses to the screaming, explosive chorus become a powerful shared release of collective trauma between the band and the crowd.

The lyrics are rich with harrowing bodily and religious imagery that serves to externalize internal trauma:

• The Holy Ghost: Represented as an persistent, invasive voice whispering "You'll come home" . Rather than a comforting spiritual guide, the Holy Ghost is a symbol of inescapable guilt, stalking the narrator and reminding them of their perceived spiritual deviance .
• Patron Saint of All Dysmorphic: A brilliant oxymoron and religious inversion . While the Catholic church canonizes saints to protect specific groups of people, the narrator crowns themselves the saint of those who hate their bodies—elevating dysmorphia to a holy tragedy.
• Peeling Skin to Torch It: This violent metaphor represents a desperate urge to purge the physical body . Fire is a biblical symbol of purification and punishment; torching the skin is both an act of self-harm and a desperate attempt to burn away the 'sin' attached to their physical form.
• Sleeping Fully Clothed / Crooked Lines: This imagery highlights the narrator's deep-seated vulnerability . Sleeping with clothes on functions as emotional armor, protecting them from the 'bright light' that would expose their 'crooked lines'—a physical metaphor for moral failure and bodily imperfection .

The track relies on several recurring motifs and repeating lyrical hooks that ground its painful narrative structure:

• "But that's not what you wanted, was it?" / "Is this what you wanted?": This repeating question is directed outward, likely to the narrator's parents or the church leaders . It drips with resentment and bitter irony. The church leaders wanted a devout, pure child, but instead, they created a broken, dysmorphic individual who sleeps in their clothes, experiences self-hatred, and suffers from extreme isolation.
• "I can't hide enough": The central hook of the chorus expresses the suffocating feeling of being constantly exposed, judged, and monitored . Even when alone, the internalized gaze of God and the religious community leaves the narrator with absolutely no safe haven.
• The Skin and Body Motif: Skin is a recurring physical motif. In Verse 1, they want to "peel off skin to torch it" ; in Verse 2, they describe their body as "disgusting" ; and in the bridge, they plead, "just needed some different skin" . This recurring physical language grounds the abstract trauma of religion into a very real, tangible physical prison.