KN/GHTS: Dancing With the Dark

After years of relentless touring and shapeshifting across projects, James Knights returns with Supernatural Lover — the boldest, rawest chapter yet in the KN/GHTS story. Darkly playful, emotionally charged and unapologetically direct, the record captures obsession, loss and transformation with flashes of macabre humour and dancefloor-ready urgency. Forged from instinct rather than overthinking, Supernatural Lover is a release that embraces contradiction: shadow and light, menace and euphoria, chaos and control. We caught up with Knights to talk creative urgency, identity, and how this new era comes alive on stage.

1. Supernatural Lover is described as your boldest and most uncompromising release to date. What shifted creatively or personally that pushed you to make this record so raw and urgent?

Since my debut album in 2019, a lot has changed in my world—for better and for worse—and the new album needed to reflect that. Maybe that’s why it took a while to make. Making records is no small feat; they demand a huge amount of energy to see through. My instincts are always telling me to get out there and play live rather than stay locked in the studio. I’ve never had any interest in outstaying my welcome, on stage or on record. I wanted this album to say everything it needed to in the shortest space of time possible. I’m no time burglar.

2. The album explores obsession, loss, and transformation, with flashes of dark, Hammer Horror–style humour. How do you balance intensity with playfulness without diluting either?

I don’t give it that much thought—it comes naturally to me to perform and write music this way. After all, life is a mix of emotions, and it’s important for me to feel as many of them as possible, whether I’m on stage or listening to an album. It can be a lot to take on emotionally, but that’s the deal.

3. You’ve fronted projects like Boytronic and Scarlet Soho, each with their own identity. What does KN/GHTS allow you to express that those other projects don’t?

Those earlier projects were much more collaborative, always made with a writing partner and a shared approach to music and lyrics. KN/GHTS, on the other hand, is almost entirely my own compositions and words. I tend to move between projects throughout the year, and I value that process. It allows me to step away from tracks, sit with them for a while, and return with a clearer perspective.

4. Your reimagining of Yazoo’s “Goodbye 70’s” sits alongside original material on the album. What drew you to that song, and how did you approach making it your own while respecting its legacy?

I’ve always been a huge Yazoo fan—my mum used to play Upstairs at Eric’s in the car when I was a kid. About 18 months ago, I was touring with China Crisis, and in Derby their singer Gary came down to watch and listen during the KN/GHTS soundcheck. He told me I sounded like Alison Moyet, which was a really nice compliment and comparison to make. That stuck with me, and I set out to create my own version of “Goodbye Seventies,” keeping the original energy and tempo but adding a slightly more Hi-NRG feel to make it distinctly KN/GHTS. The producer RETROTEQUE from Sweden created the music for this one and did a brilliant job.

5. With remixes from Steel Horse and Werner Karloff and a busy 2026 tour ahead, how do you see Supernatural Lover translating from the studio to the dancefloor and the stage?

I think a lot of the songs will slide right into the live show—they’re up-tempo floor fillers, exactly what people expect from me. Then there are a few slower tracks, which I’ll sprinkle in here and there, mostly at festivals. You could say those ones are for quieter, more reflective moments.