Formed back in 2017, Twin Temple — married couple Alexandra and Zachary James — are an acclaimed Los Angeles-based duo, who specialize in a new sub-genre and style that they’ve dubbed “Satanic Doo Wop,” which blends their practice of Satanism with a sound that’s influenced by The Platters, Roy Orbison, Buddy Holly and the like. 

The Los Angeles-based duo have developed for being one of the contemporary scene’s most talked about crossover acts, earning widespread coverage from media outlets like Rolling Stone, NME, Billboard, American Songwriter, Stereogum, Consequence, Revolver, Kerrang!, Metal Hammer, Loudwire, San Francisco Chronicle, Los Angeles Times and a long list of others, and for being one of the most provocative acts out there right now. Their uncompromising artistic vision routinely sparks much larger and more serious conversations about artistic freedom, religious freedom, freedom of expression, censorship, the role of controversy in art, and on a broader sense, the wider role of art within the cultural landscape.

Now, some of y’all heard of the acclaimed Los Angeles-based duo after Charley Crockett abruptly dropped the band from his tour earlier this year — specifically because of their usage of Satanic imagery. That led to Jack White publicly inviting the band to open for his Los Angeles show back in September. And serendipitously, the duo’s highly-anticipated third album Doomed Lovers will come right on the heels of their latest, and arguably biggest controversy to date. 

Slated for an October 9, 2026 release through their own Pentagrammation Records, the Shooter Jennings-produced Doomed Lovers was recorded at Hollywood-based Sunset Sound‘s iconic Studio 3 and marks the acclaimed duo’s boldest chapter to date. 

Born from one of the darkest periods of their personal lives, Doomed Lovers is reportedly their most intimate and emotionally revealing work to date. Expanding upon the cinematic scope of the sound that has won them acclaim while remaining rooted in the timeless sound and traditions of early rock ‘n’ roll, the album is their most ambitious and fully realized artistic statement so far. The album continues the band’s commitment to analog recording while expanding upon their sound with lush orchestral arrangements performed by a 37-member orchestra. Yes, 37!

“We poured everything into this new record that we made with Shooter,” says the acclaimed and controversial duo. “We wanted to push ourselves creatively and expand the production further than we have before, drawing inspiration from the lush orchestral productions of Roy Orbison, The Ronettes, and The Shangri-Las, and added in some Countrypolitan flair. We brought in some incredible musicians like Matt Chamberlain and Jay Bellerose, and a 37-piece orchestra. We wanted to make something as beautiful as we possibly could – of course with our dark spin on things.”

The truth is, this album was made during one of the darkest periods of our lives. We had been struggling with grief, health issues, addiction, and depression. But day by day, going into Sunset Sound, making music with incredible people who believed in us, and being surrounded by that creativity slowly brought us back to life. We started smiling and laughing again. I was becoming alive again. It connected us to why we fell in love with music in the first place and became our most personal album yet.”

The album will include the previously released, “Doomed Lovers,” and “Haunt Me,” as well as the album’s last pre-release single “Nothing Matters.” “Nothing Matters” continues a remarkable run of breathtakingly gorgeous and cinematic material that to my ears at least, sounds a bit like a blend of Patsy Cline with Roy Orbison, anchored by a similar aching sense of loss and grief.

“‘Nothing Matters’ was born out of the bleakest, lowest point of depression and apathy following a devastating loss, functioning as a modern day Gothic lament for a love that refuses to die,” Twin Temple’s Alexandra and Zachary James say. “Channeling a kind of Nihilistic and Byronic romanticism, the song tackles the abject feelings of hopelessness, disorientation, and loss of self that profound grief evokes. We wanted to make something beautiful out of that experience, pairing the tragic narrative weight with the lush, cinematic sweep of a 37-piece orchestra.”