God Is Dead lives up to all this, joyously partying right under the noses of squares like Alex Jones, winking and shaking its arse right in their uptight face. Even more so than their fabulous 2019 debut, Twin Temple (Bring You Their Signature Sound… Satanic Doo-Wop), it is a sassy, mischievous celebration of life, liberation and Satanic will, not to mention the sounds of the ’60s. A Luciferian beano set to ultra-cool music drawn straight from the golden age of rock’n’roll, it’s as horny as Austin Powers in a saxophone shop, the sort of thing that would have outraged parents who saw dancing as the work of The Devil’s very own hooves.
“It’s a merging of everything we love,” says Zach. “Witchcraft, Satan, and rock’n’roll of all kinds.”
This stuff at the heart of Twin Temple goes back to the pair’s dual obsession with Satanism, record store crate digging, and the chain-breaking rebellion and hedonism of the swinging ’60s. Elaborating on the music of the decade, Alexandra points to a love of New York’s Brill Building, the hub of U.S. songwriting at the time. She's also obsessed with “1962 to 64-era Gold Star Records”, home of The Ronettes, The Crystals and Darlene Love, under the production of future murderer Phil Spector (at whose infamous LA castle the singer reveals she had a macabre murder-mystery birthday party).
Even down to the Wall Of Sound-ish production, God Is Dead is, as Alexandra hopes and Zach thanks us for commenting, so accurate that it's like a lost album from 1963. Though the pair say they’ve found a modern home among metal fans – evidenced by their recent tour with Behemoth, Midnight and Glenn Danzig, a curate of such music, obsessed with Elvis and Pretty Woman singer Roy Orbison – they also reckon they could have easily existed back then.
“There was a beautiful crossfade in the ’60s, where you had the occult revival, and then all this brilliant music all coming together,” says Alexandra. “There were bands like Black Widow, who were doing The Banishing Ritual onstage, with the giant pentagram and stuff. And Anton LaVey [author of The Satanic Bible and head of The Church Of Satan] was a huge fan of The Ronettes, so I feel like we could have existed.”
When you talk to Twin Temple – she a cross between Amy Winehouse and Elvira: Mistress Of The Dark, he a man so slick he makes Jack White look like an untrustworthy mechanic who got dressed in a hurry – they both greet and bid farewell with a big, smiley, “Hail Satan”. And truly, beyond the obvious immediate aesthetics, they fit very well with Anton LaVey’s idea of a life dedicated to oneself and using your will to develop as an individual. And, indeed, infamous British occultist Aleister ‘Wickedest Man In The World’ Crowley, and his oft-misunderstood maxim, “Do what thou wilt shall be the whole of the law.”
“A lot of people misinterpret that quote thinking it means do whatever you want,” says Alexandra. “And it does to a degree, but not really. It’s all about individualism, but also taking responsibility for your actions. It’s understanding that every action has a reaction and you're responsible for creating your world. That saying to me is more about finding out what makes you uniquely you. It's finding and tapping into who you are, finding that thing that excites you and makes you wake up in the morning. ”
“We've always had a rebellious inclination and a desire to transcend societal norms, what we call antinomianism,” adds Zach. “That's at the heart of Satanism, and Lucifer as a symbol was the Rebel Angel. That's always been a big part of us, and we found a new vocabulary for it. It manifested in things like punk rock, and then you realise that it's this whole philosophy, and that there's other people practicing it, and there's a lineage, and it's been going on for a very, very long time.”