Movies

Goth pop star King Mala channels her inner ‘desert witch’ in new LP

BBG News

King Mala wants to put it all out there. And she is — at a breakneck pace.

The 26-year-old alt-pop artist unveiled her eerily captivating debut album titled “And You Who Drowned in the Grief of a Golden Thing” on May 2nd. Since then, she’s been traveling up and down the West Coast, from Vancouver to Los Angeles, as part of Canadian singer Lights’ tour. Following their joint performance at The Roxy, King Mala is scheduled to perform her own headline show at the Troubadour in Los Angeles on June 26th.

During a Zoom meeting with The Times, Areli Castro – also known as King Mala – confessed that she was operating on empty after driving from Portland, Oregon to Seattle during the early hours of the day. As she navigated her album’s central theme in real life – the gap between her aspirations and her physical capabilities – she found herself embodying it personally.

Castro mentioned a constant battle between desires and reality, ‘It’s fascinating to blend epic themes and divine entities with a distinctly earthy, human, and even unpleasantly raw feel,’ he said.

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Regardless of the circumstances, she’s managed to keep a cheerful outlook, which is quite different from the somber and emotional vibe of her songs like “Ode to a Black Hole.” Her current music videos have an eerie and enigmatic atmosphere reminiscent of “True Detective” and the upcoming horror movie “Longlegs” in 2024.

Raised in the border city of El Paso by a Mexican father and Puerto Rican mother, this musician was immersed in Catholic church and soul music from an early age, which she now refers to as her main musical source. Despite not identifying strongly with traditional Texas culture, Castro maintains a deep emotional bond with El Paso.

Castro stated that El Paso is quite distinct from other parts of Texas. He often feels as though it’s not his Texas when he travels elsewhere in the state. Raised near the border, he appreciates the Southwestern atmosphere, which stands out starkly against cities like Austin or Dallas. He sometimes describes herself as a desert enchantress living in this unique environment.

Her enchanting musical style, characterized by captivating sound patterns and the clever use of empty spaces, blends harmoniously with visuals derived from ghost-hunting programs, decorative Catholic symbols, and desolate desert backdrops featured in her music videos.

In addition, Castro shared with The Times insights on how she planned her first album and the personal life events that influenced her development of a dark, gothic style.

This interview has been edited and shortened for clarity.

As a movie reviewer, here’s my take on that intriguing album:

I’m captivated by the symbolic use of religious themes throughout this work – it feels like stepping into an ancient cathedral, with stories as old as time echoing through its hallowed halls. I’ve always been fascinated by the collective unconscious and the way we reinterpret timeless tales again and again.

In this album, I saw a chance to explore themes of power struggle in a fresh, exciting way. The metaphorical battle between God and humanity seemed an ideal canvas for painting the complexities of existence – how can one maintain their divine status while still holding onto their human essence? That’s the story I wanted to tell through this album.

As a movie buff, you might wonder if my fascination with religion and profound concepts stems from personal choice or influences from my upbringing. Well, I was raised as a devout Catholic, deeply rooted in the faith since birth. My grandmother instilled in us the importance of attending Mass regularly, which we did. However, I was also home-schooled within a tight-knit Christian community that, for a significant part of my adolescence – middle school and early high school – immersed me in its teachings. This environment, while it may have seemed comforting at times, was actually quite harmful and odd, leaving a lasting impact on my worldview.

As a movie buff, I found it intriguing to witness the manipulative nature of the religion. It seems to be seeking out vulnerable children who are lonely and frightened, offering comfort which is understandably appealing. However, it’s not long before they’re asking for something in return – “you must do this,” or “you must abide by these rules.” It’s like a sweet promise that comes with an unexpected catch.

Indeed, I’ve experienced some religious distress, put mildly. After breaking free from that cycle and environment, I came to see striking similarities between my experience and a cult. But when does a cult transform into an established religion? Is it simply a matter of the number of believers? I can’t say for certain. These were some of the thoughts that crossed my mind as we worked on this project.

What sources do you find inspiring? As a huge fan of horror, it plays a big role in my work. I’m fascinated by the grotesque nature of being human, and I think we often overlook it because we’re so accustomed to it. I particularly enjoy body horror, and movies like ‘The Substance’ and ‘The Witch’ really resonate with me. I’m deeply captivated by Robert Eggers’ ability to create both beautiful and terrifying horror.

Initially, when approaching this album, my aim was to capture the essence of humanity authentically – raw, visceral, and unapologetically real. If we chose to explore themes like sensuality, I desired a gritty, uncensored expression. Similarly, if body horror was on our agenda, it needed to be purposeful and intense.

Are you struck by a sense that there’s an odd sort of charm to our human nature? I find it utterly fascinating, particularly the complexities of our connections with one another. There’s something endearing and peculiar about us, such as holding hands or kissing – it’s adorable, revolting, and amusing all at once. It feels like we’re a species that alien lifeforms would find baffling if they observed us. I find the idea of us being like aliens quite humorous.

Did you find any musical artists whose work influenced the creation of this album? Our inspiration came from Bon Iver’s “22, a Million,” Radiohead, classic hip hop and rap like Kendrick Lamar and old Kanye West. We also looked to Phantogram, The xx, Portishead, Little Simz, Doechii, and Rico Nasty for inspiration.

In various perspectives, I was gathering ideas. Before initiating the recording process, our team recognized the necessity of shaping this sonic environment first. Our intention was to incorporate both traditional drumbeats from analog sources and modern hip-hop rhythms, layered with reverberated, textured guitar tones reminiscent of Mk.gee’s style. Ultimately, we aimed for a lively and authentic sounding composition.

I aim for my live performance to transport the audience into the character’s world, making them feel as if they are watching a movie. I want each song to resonate and come alive, allowing everyone in attendance to experience it personally. I believe that live shows generate an incredible energy among people. My objective is to create an atmosphere where we all attend a spiritual gathering or embark on a journey together. That’s what I strive for in my performances.

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2025-05-22 20:01

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