Guillermo CastroJennifer Zuiff was born to create music. To hear her mother tell it, the young prodigy started singing just two weeks from birth. Taking this as a sign, the concert pianist began immersing her daughter in the world of classical music. By age five, Zuiff was studying piano, learning to play the same intricate compositions she would hear her mother perform at home. At age twelve, she began her formal training in classical voice and was performing regularly at recitals organized by her mother and grandmother. The training was rigorous, but it only affirmed Zuiff’s passion to succeed.
“I was willing to do anything for it because I knew it was what I wanted the most,” Zuiff recalls. “My heart was set on being a singer for the rest of my life; it was just something I always knew was my destiny. I was also brought up by Russian parents so rigorous training in general is in our blood.”
Pursuing her training through high school, Zuiff eventually enrolled at Georgia State University where she earned a Bachelor’s in Vocal Performance in 2010. Shortly after graduating, however, she suffered an injury that forced her to abandon her hopes of becoming a professional opera singer. But rather than allowing this devastating setback to derail her career, Zuiff began experimenting with different instruments and various forms of pop music. It was doing this period of healing and exploration that Zuiff began to develop the ideas and persona behind her moniker Indee Killed the Pop Star.
This transition would mark a creative rebirth for Zuiff. Over the next several years, she began immersing herself in the Atlanta music scene, all the while laying out the groundwork for her debut EP. Five years in the making, Indee’s first record is the result of countless hours spent writing and re-writing, building and scrapping. What started out as a wide collection of random songs was whittled down to five tracks that showcase the beauty and range of Zuiff’s dynamic voice. Titled The Climb in honor of the long journey it took to complete, the EP builds and crests in symphonic waves, embracing all manner of pop, rock, and folk elements. But make no mistake, Zuiff’s stunning, siren-like vocals are the record’s centerpiece, guiding each dramatic movement in a spellbinding manner that recalls greats like Joni Mitchell and Tori Amos.
With her latest journey nearing completion, I had the opportunity to speak with Zuiff. Ahead of her record release show tonight at Aisle 5, we spoke about her musical past, her creative evolution, and how she was finally able to complete The Climb.
Credit: Vegas Giovanni
Your bio mentions that you started singing at two weeks, which is astonishing. What is your first memory of music?
My brilliant concert pianist mother playing piano and dancing into oblivion in ecstasy to the vibrations of the tones.
Can you tell us a little bit about your upbringing? How did you become involved with music?
The reason I’m an artist is definitely all my mother’s fault. I was brought up in her world of constantly hearing her play these intricate and complex classical pieces on piano and then made me learn it at age five. It was over from there. I never questioned what I would do with myself when I grew up. It was always music and still is.
Did learning music come naturally to you?
Yes, music came naturally to me in the sense I had a good ear but learning piano was challenging. Singing was always the most natural for me. I always heard more than just the melody in my head, I heard the rest of the music too.
Was it ever a struggle growing up?
Who doesn’t struggle growing up?! It was, but there were good things too. I had a hard time at home with my family, as well as in school with other kids. I was always too different from the others and never quite fit in. We also moved around a lot until I was about eight, so establishing roots until then wasn’t possible.
Was your mother a good teacher?
Yes, my mother is an excellent teacher. She gave me a foundation that helped propel me forward by the time college came around.
What did your learn most from her as an artist?
The thing I learned from her as an artist has to be phrasing and having your own unique interpretation of things based on how you hear a piece of music. Everyone hears the same piece of music differently. If you can make that piece of music your own and stand out, you’re onto something.
When did you first start writing songs?
I probably first started experimenting with writing songs onto cassette tape when I was about seven or eight.
You mentioned in a recent interview that you always wanted to connect with people on a personal level through music. Do you remember the first time you felt that connection?
Yes, I was probably somewhere between six and eight-years-old and was singing in public for the first time at a piano recital my mom and grandmother put on. They would have me play some piano piece and then sing afterwards. This was my first one.
I remember getting on that small Ken Stanton stage and looking into the eyes of an entire audience of parents and children directly looking back at me. Even though some would be petrified of this, it didn’t bother me. In fact I loved it and wanted more. I was nervous but I loved the invigorating energy all the people gave me as if we were about to take off on a plane together and go on an adventure. I felt the entire connection before I even opened my mouth. I’m still really grateful for that first memory since it obviously got me hooked. All my early musical memories did. I mostly have my mom to thank for this.
You started training in classical voice at age 12. Was the training rigorous?
I wouldn’t have known if the training was rigorous back then just because I was so young and very into singing. I was willing to do anything for it because I knew it was what I wanted the most. My heart was set on being a singer for the rest of my life; it was just something I always knew was my destiny. I was also brought up by Russian parents so rigorous training in general is in our blood. The training in music school was most definitely rigorous. Four and a half years of it and I am super glad I did it. Music/singing bootcamp!
When did you start transitioning into Indee Killed the Pop Star? How did you develop that persona?
I started the transition after I knew I had to quit my pursuit with opera (and right around my graduation, too). I had to leave that dream behind due to an injury that made it impossible for me to even stand a chance in such an already competitive field. I started building my path for Indee without even realizing it in a way. The persona came about right after my very first band. The name was hilarious—Animu1 [laughs]. I wanted to create a movement not just a name. I loved the vibe of “Video Killed the Radio Star” and toyed around with that idea until Indee Killed the Pop Star came out and that was that.
Cover for The Climb by Vegas Giovanni
You’ve been very active in the Atlanta scene for quite some time and have managed to build a significant presence here. And yet The Climb is your debut EP. Why did it take so long to create that first record?
Good question. Why did it take so long to release this record? Lack of money and organization.
Can you talk a little about the process of putting the record together? Did you have a specific vision in mind when you started working on it?
A vision for the first record was honestly lacking because I think all that was on my mind was, “Please let me just make something high quality enough to put out in the world right now already.” And here I am… five-ish years later [laughs]. It started out as a collection of eleven random songs that we narrowed down to the best five. No concept for this one—just a bunch of songs that I wrote in my twenties as I made my transformation from opera singer to indie artist. It’s been quite a struggle and overcoming life’s obstacles is why I called the whole body of work The Climb. However, the next album or EP will be a concept. Those songs are already written, too. Just gotta record them and NOT take five years.
How did the vision changed during the process of writing and recording?
My vision definitely changed between those four to five years it took us to finally get this record out because I changed as a person. I feel like this is just the nature of being an artist and a human: to change and therefore see your art change as a result. My overall sound and how I hear things and want them produced has morphed since I started this record. I have and always will love the sound of organic live and acoustic instruments thanks to my background that backbones a purity and love for natural tones into each classical musician. Recently, however, I have been into exploring analog electronic sounds and I hope to incorporate that more into my music in the near future. I also think I am becoming more minimal in my writing, which you don’t hear in this particular record at all because these songs are still younger Indee.
It’s interesting that you mention going more minimal in the future. There are so many harmonies and layers on the record. What has been the biggest challenge in terms of pulling these songs off live?
Yes, I say minimal now but we will see what actually happens [laughs]. The biggest challenge had to be learning how to be a good bandleader and tightening everything up with so many different musicians and instruments in the band. It’s a lot to coordinate in order to achieve that “next level touring band” kind of sound. I feel like I am still in the process of learning how to do that better.
If you had to pick a track off the EP that really defines your vision as an artist what would it be?
“California” because it’s the most heartfelt and that’s what I’m mainly going for. Emotion and emotional connection with people through songs are the most important things to me.
You worked with Chelsea Shag on that track. How did that collaboration come together?
Chelsea and I started working together more when I was her background vocalist for a little while. We were almost done with “California” when I had this idea to have her on it because I know she would make it sound incredible and no one sounds like her. I asked, she agreed, and the rest is history.
Now that the record is out, what are your immediate plans for the future? Will you be doing any touring?
Touring would be amazing, but I would love a good booking agent if one would have me. I have been working on setting up shows in neighboring cities and so far (no pun intended) have confirmed a Sofar show in Asheville on November 22nd. I’m trying to plan a significant New York show as well, which will probably happen either end of this year or beginning of next.
My immediate plans are to map out a budget to record my next body of work, plus a couple of music videos. The songs are already done and ready to be tracked by the band. We just need the funding. I have some other side projects in mind and on my heart as well that I am excited about hopefully turning into reality like a children’s album done by my music students for charity for either orphans or refugee kids in need in other countries. This project will be called “For Children from Children” coined by a brilliant young student of mine named Lucy.
Indee Killed the Pop Star will celebrate the release of The Climb tonight at Aisle 5 alongside Lazuli Vane and Ansley Fain. Doors open at 8:30 p.m. Admission is $20. All ages.
More Info
Web: indeekilledthepopstar.com
Facebook: @indeekilledthepopstar
Instagram: @indeekilledthepopstar
SoundCloud: @indeekilledthepopstar
Twitter: @indeektpsmusic