NGHTCRWLR on OZ: A Modern Club Retelling
Kris Esfandiari is an artist who continues to evolve while pushing both boundaries and her own expectations. Known for fronting the doom laden force of King Woman and for her electronic alter ego NGHTCRWLR, her works orbits the global metal and club scenes. The two projects are radically different in sound and atmosphere, yet both are unmistakably hers, intense, visceral, and uncompromising.
With her new NGHTCRWLR record OZ, Esfandiari re-emerges after more than four years with what she describes as a massive exhale, a victorious rise from impossible circumstances. Channeling breakbeat, jungle, and UK bass influences into a modern club retelling of Oz, the album feels epic and timeless, reminiscent of works like Blackstar by David Bowie, where it becomes impossible to tell whether the music is arriving from the future or from some lost decade that never existed.
Fresh from her involvement in I Saw the TV Glow, Esfandiari continues to expand her creative universe. The film, produced by A24, is a psychological coming of age drama that explores identity, obsession, and the blurred line between television fantasy and reality. Kris contributed musically to the project and also appeared in the film, marking a new chapter in her artistic trajectory.
With a world tour ahead and new King Woman material on the horizon, she remains an endless well of ideas, committed to building her own worlds. In this conversation, she reflects on pain as inspiration, Tokyo nights, and the triumph that pulses at the heart of NGHTCRWLR.
words by Xavi Sosa
GATA: Hi Kris! It’s been a while! Could you tell us a little bit about the new record? I imagine each album is like giving birth to a new creature—like getting naked all over again. What does this album mean to you, and where do you see it in the context of your career?
Kris: It’s been a minute huh? Thanks for having me.
This record feels like a massive exhale. I haven’t released anything in over four years, so it’s strange territory. Some of it’s definitely residual energy from the aftermath of King Woman’s ‘Celestial Blues’
The opening track really sets the tone. I wanted it to have a victorious feel… rising up out of impossible circumstances.
The mood? Oz retelling with a modern club twist.
GATA: There seem to be a lot of breakbeat, jungle, and drum and bass references in the record. Where does this exploration come from? Has the UK had an influence on your sound?
Kris: Yeah, it’s always resonated with me. I was listening to a lot of Shitmat, Yeezus, etc at the time. Guess talking about Ye hasn’t aged well as well of late but yeah a lot of the production on his stuff is super inspiring. The bug as well. UK influence is definitely there.
GATA: How does the message differ between your NGHTCRWLR and King Woman projects? Is there a clear separation between the two? When and how do you decide which project—NGHTCRWLR or King Woman—comes to the forefront for your next release?
Kris: Sonically, they’re very different. King Woman leans into metal. NGHTCRWLR explores club and breakbeat elements, with a more electronic, rhythmic focus. Different sounds, different crowds, different energy. When deciding what comes next, it really depends on what part of my creative world feels most urgent to express.
GATA: One of the most difficult things about creativity sometimes is finding a tone or vision that is consistent or harmonious. While working on so many different projects, do you ever find it difficult to keep them separate?
Kris: Not at all. Time accelerates, and my priority is to convey the full spectrum of what I need to while I still can. I’m an endless well of ideas.
GATA: Would you say that the lowest moments or the highlights of your life inspire your creativity the most? Is sadness a source of inspiration?
Kris: At this point, I see pain and the so-called low moments as my greatest blessings. Those experiences have forged my identity and deepened my understanding in ways nothing else could. Pain and betrayal feel essential imo. Not that I need to suffer forever but nobody comes out of this place unscathed and it’s amazing how you can take these “negative” experiences and transmute them into magnificent pieces of art that other people resonate with it.
GATA: Our favourite song on the new record is “MADHOUSE”, [we love the name!] could you tell us a little bit about this song?
Kris: “MADHOUSE” feels like a spell to shift into something new. It’s about something that once had total control over you, something that now, looking back, feels almost small, even laughable.
GATA We know you love Tokyo and being in Japan, what are your favorite things of the city and what are your most remarkable memories?
Kris: Tokyo really feels like my home away from home. I’ve made incredible friends there, and some of my best memories are just running around the city with them. I love drinking, doing karaoke, and having a good time. Simple things: Beat cafe, going to sleep at 8 AM after walking home and the city is super quiet and beautiful. Never want to leave when I visit.
GATA: I know that the visual direction and style for each of your projects is incredibly important. People these days often have short attention spans, and require a visual look that is just as powerful as the music. Your style for NGHTCRWLR is very different from the more gothic aesthetic of say King Woman; what were the reference points for this project’s persona? What were you trying to express with these looks?
Kris: Creative direction is definitely one of my favorite parts of making a record. I like to handle my own creative direction. Sometimes it’s hard to put into words, but for this project, I wanted the visuals to emphasize triumph through sound.
GATA: What are some tracks things you’re obsessed with right now? (from like tracks, to artists, movies..)
Kris: Crystal mess. Her elevator music is on heavy rotation.
GATA: You’ve talked in the past about not wishing to tear down the walls of constructs that other people have made, but rather would like to create your own inclusive world and community; has your mindset changed at all over the years, do you still feel passionate about this way of thinking?
Kris: For me, building a world of my own resonates deeper and feels more effortless than fighting against existing structures.
GATA: You’ve mentioned in the past that “so many individuals in the music industry end up becoming caricatures of their authentic selves.” Reflecting on your own journey, has this ever been something that you have struggled with?
Kris: Not for me, but I get how it can happen to anyone. I try to approach creativity with a sense reverence but also balance that with a childlike playfulness. It keeps me grounded.
GATA: Last year you featured in the A24 film I saw the TV Glow. Could you tell us about your experience? Would acting in the film be something that would interest you in the future?
Kris: It was an incredible experience. I got to do some of the music and act in the film. Working with A24 was really cool, and going to the screenings was fun. I made a lot of great friends. I’d definitely be open to doing more film work.
GATA: What does the future have in store for you? Any plans that you can share with us?
Kris: A world tour is definitely on the horizon. Finishing up new King Woman records as well.
GATA: What was the OZ thematic event in NY - we saw it on social media - ? Tell us more about it!
Kris: It was technically my record release show. Basically we attempted to turn the club into Emerald City and invited everyone to participate bye dressing as characters from OZ but with a modern, club twist. Was an incredible night and now I’m hoping to do a few around the world, hopefully in Tokyo with GATA as well. ;)
GATA: Looking forward for that! ;) Thank you, Kris!
Kris and jewelry artist Yusuke Onishi