Twin Temple – ‘God is Dead’ album review: an ethereal descent into the bliss of hell
Historically, Friday the 13th has been steeped in superstition, where it’s believed that malevolent entities lay in wait, ready to pounce on unsuspecting victims. Those who embrace the dark aura of this day are often associated with being Satanists, witches, daring-fate challengers, or, even better, artists. In all of these categories, Twin Temple carves a unique niche, standing out as the most delightfully wicked and intriguing talent in the realm of music, so it seems fitting that God is Dead will grace the world on the auspicious date.
In typical Twin Temple fashion, the unveiling of their latest album, God is Dead, was as theatrical as you would anticipate. “Despite relentless death threats and moralising, our allegiance to Satan and the golden oldies remains unwavering,” Alexandra James and guitarist Zachary James explained. “God Is Dead is our most blasphemous, horny and painstakingly period-correct work to date. Saturated with the blood of babies and forged in the ashes of burning churches, we spared no one in the making of this album. See you in Hell!”
Four years on from their debut, Twin Temple (Bring You Their Signature Sound…. Satanic Doo-Wop), God is Dead is a deliciously lavish display of seductive Satanic rituals, flawlessly executed musical kitsch, and gleeful Godlessness delivered through the signature mischievous twinkle in the eyes. Channelling the nostalgic croons of 1950s rock ‘n’ roll works like a spell, painting a vivid portrait of a bygone era and pulling us in as if it were mere moments ago. Whatever that elusive “it” may be.
Lifting the curtain with the opener ‘Burn Your Bible’, we’re gifted with an immediate sense of Twin Temple at their absolute best. Its pacing, arrangements, and vocalisation provide a vivid encapsulation of the ultimate Twin Temple sound, condensed into a lively, classic-sounding pop anthem. ‘Fallin’ For A (Fallen Angel)’ appears to be a more meticulously crafted piece, embodying the duo’s magnetic charm through their capacity to mesmerise solely with their sonic landscapes.
Of course, the earlier release, ‘Let’s Have A Satanic Orgy’, serves as a delightfully sinful rallying cry, exuding the intended dark sensuality while remaining devilish and malevolent, staying true to the rebellious spirit of heavy music. ‘Two Sinners’ follows perfectly, drifting you along a calm river, before ‘Black Magick’ brings you back home with its blissful dustings of ’50s rock charisma.
‘Spellbreaker’ rewards with repeated listens, particularly with Alexandra James’ luscious vocals which exude unmatched passion as she exclaims, “I’m the baddest witch on the block”. ‘Be A Slut’ champions sexual liberation through an irresistibly catchy melody adorned with charming arrangements that evoke a sense of joyful familiarity.
The title track provides an exquisite conclusion to this enchanting album, with Alexandra James’ vocals soaring to cinematic heights while the strings gracefully encircle the band’s central message. Although satanic themes in music tend to be scorned by some, with the concept that “God is dead” seeming gloomy, the song, along with the entire album, serves as a poignant reminder that beauty can be discovered in the depths of darkness. God is Dead is a reminder that the well-trodden road is overhyped and that discovering a true sense of belonging can often be achieved by boldly venturing off the conventional path.
Never Miss A Beat
The Far Out New Music Newsletter
All the latest New Music from the independent voice of culture.
Straight to your inbox.