Zola Jesus has carved out a unique place in the music world with both her voice and artistic vision. Known for her distinctive vocal style and profound, impactful lyrics, Zola Jesus has a special spot in the hearts of many listeners.

We had the chance to dive deep into the depths of her music and personal journey. During the interview, we had some heartfelt and inspiring conversations about Zola Jesus’s creative process. Enjoy the read!

Hello Nika! It’s Asuna from the Surge Turkiye team. I’m really happy to have this chat with you. I hope I get a chance to see your music live at the Turkiye concert. My first question is, what draws you to experimental music genres like avant-garde and art pop? How do the creative freedom and innovation within these genres influence your musical vision?

Zola Jesus: I’m honestly not even sure what draws me to outsider music, as I’ve always been interested in it. From a young age I was more interested in music and art that explored the edges of creativity and emotional expression. I’m drawn to extremes, and I find that music that pushes boundaries has the ability to communicate aspects of the human condition that are otherwise ignored.

Throughout your career, you’ve experienced many phases and transformations. Has there been an experience that surprised or impacted you the most in your music? How did this experience shape your musical and personal journey?

ZJ: I get bored very easily, so I’m constantly trying to push myself and challenge what I’m capable of creating. I think the hardest era was when I tried to go more pop with my album Taiga. As someone who loves experimental music, it was really fun to try to make music that was more accessible. I’m not sure my fans got it at the time, or were necessarily along for the ride! But I’m always most interested in doing things that push me out of my comfort zone… even if it means making music that is on the surface less “experimental.” Through that experience I learned a lot about what my strengths are as a musician, and that maybe my skills are better used elsewhere. But I had to try to find that out.

So, how does the feedback you get from your listeners impact your music? I’m curious—what kind of changes has this feedback brought to your creative process?

ZJ: Earlier on I was very sensitive to feedback. But I’m also a bit of a contrarian. I don’t like to give people what they want. I think I’ve fought against making music that is overtly “dark” or “goth” because it’s always what people expected of me. It’s driven me to find different ways of expressing myself outside of genre or expectation. Sometimes I think it frustrates listeners, that I never really give them what they want. But it’s more interesting to me, because being a musician is a conversation, and I want to give my fans something that will challenge them. Again, sometimes that looks like making music that is “poppier” than they expect from me. I enjoy confronting them with that. Making overtly dark music has never been as interesting to me because it really narrows the scope of what I’m trying to communicate. You can’t have the dark without the light. I think my music can be defined as chiaroscuro, in that sense.

I’m really interested in what artistic goals you’re setting for yourself in the future. What kind of vision do you have for your music, and how do you plan to achieve it? I’ve noticed you’re making some impressive progress in that direction—can you share any strategies or steps you’re planning to take to reach those goals?

ZJ: I’ve been on a bit of a sabbatical right now, as I feel like I’m in a transitional point with my music. I’m never done learning or growing as a musician. Every record is a snapshot of a moment in time, but truthfully I’m always changing. Lately I’ve been really trying to focus on evolving my skill and abilities as a musician and songwriter. I’m more curious about collaborating, which I’ve rarely done. I’m also dedicating a lot of time to studying opera. Part of me feels like I’ll move away from the poppier material towards something more operatic and experimental, but another part wants to go deeper into the pop and make a funk record, haha. So maybe I’ll do both. I’m just following my muse. But I’m also giving myself time to live and grow. I made a lot of records in a short amount of time, but now I want to take more time between records to really establish a new direction. I’m not feeling rushed at all, which is good. There’s so much inspiring me right now, but I want to do it right.

I’d love to know how your passion for visual arts comes into play with your music. When you’re working on projects that blend both, how do you see them working together? How do you make sure the music and visuals really vibe with each other? Fashion is also.

ZJ: Honestly, it’s hard to make music without a visual. I really need to see the music before I hear it. Music is sort of an incomplete medium… it has to exist in space somewhere. Even if it’s just an imagined space. Music is the sound of an environment. So when I’m really inspired, I’m making music that exists in an imagined world. Fashion connects as the wearing of the world. Like, if there are people in this imagined space, what do they look like? What does it smell like? All of my senses are involved in making music. Even if it’s not super clear from the onset, as I go deeper into the music, it builds itself around the sound. It’s really my favorite part about making music… the world-building.

You often dive into personal and societal spiritual quests in your music. Did this journey kick off with a particular experience in your life? How has that experience shaped and reflected in your music?

ZJ: I’m not sure. I think it’s just who I am! I take my work very seriously. Music is a way for me to connect to the outside… to bridge the gap between the internal and external. It’s a medium in which I’m able to plumb the depths of my own interiority. It’s a mystical practice. I’ve always lived a magical life, in a sense. The mundane isn’t interesting to me. Especially when I create. It’s a gateway. The things I’m curious to explore aren’t very practical.

You’ve mentioned that your last album “Arkhon” helps listeners emotionally and spiritually. How did you aim to create that sense of healing in your music, and what impact did it have on you personally? I also noticed you used elements of Tibetan music in your track “The Fall.” Could that be one of the healing elements too?

ZJ: Making that album was healing for me on a whole new level. It was a utility to help me overcome a very hard time in my life. I had gone through a divorce, meanwhile a person very close to me was dying of cancer, and the pandemic and election in the US had created a psychic turmoil that was crazy-making. It was a very chaotic time. I didn’t know how to put that all into music, but I knew I needed to make music to make sense of it. I collaborated with Randall Dunn, who was like a doula in this whole process. We connected on a spiritual level, which really helped me overcome the stress of it all. During this time I also deepened my Buddhist practice. It was a very hard record to make, as it was all made during the pandemic and hard to travel… I’ll never forget flying to New York after being sequestered in my woods for so long… even just seeing sidewalk freaked me out. I hadn’t seen sidewalk in so long, let alone tall buildings, and so many people. I felt feral. It was a wild time. But the music brought me back to myself and into the world. It was so vital. The most important part of this record was the experience making it… which is why I’d say it was my first “mystical” record. It had nothing to do with the outcome or finished product. The process was paramount. It was very special.

Your “Alive in Cappadocia” project took place in the mystical atmosphere of Cappadocia. How did this place affect your creative flow? What can you share about the impact of Cappadocia’s natural environment on your performance?

ZJ: While making the record, I was so inspired by process. Usually when I make music it’s done in a clinical manner that is solely focused on the outcome. But as I got deeper into magic and my own spiritual relationship, I started to see how important process is. When you imbue a moment with intention, that magic is imprinted into the work. It’s a way to transmit gnosis, by recording a powerful experience. The idea to go to Cappadocia was related to this. I wanted to make a video in a magical space. I wanted it to feel like a ritual. Committing that to film would capture a whole new depth to the image. Cappadocia is a very magical, charged place. Beyond words, really. It’s not just the otherworldly atmosphere, but the history… it has been a citadel for so many people throughout history. I wanted to be a part of that history. I wanted to stack my energy on top of the thickness of that space. It was a surreal experience, and I’m so grateful for Mu Tunc for putting it all together and making it happen. I could not have done it without him.

Besides mystical and historical places like Cappadocia, are there other cultures or mystical elements that have influenced you? Are there any specific details from these cultures you want to incorporate into your music?

ZJ: Turkey is one of the most mystical places on Earth. I dream of going to Pamukkale and Göbekli Tepe. I wanted to try to visit these places after Cappadocia, but unfortunately I didn’t have time. I am so overwhelmed by the history and magic in Turkey… if you scratch the surface you will find magic, anywhere you go there. I’ve never been to Japan, but that is next on my list. I’m very inspired by Shinto and Shingon Buddhism, not to mention Zen, which is what I practice. There is a lot of magic in Japan. I’m also desperate to explore more of central Asia, like Kazakhstan. My ancestors are from the steppes of Ukraine, which I’ve never been to either. There are so many places I have yet to explore! But I am a child of the Black Sea at heart. When I am near the Black Sea I feel like I’m home.

Have you ever considered mixing in some Turkish or folk music elements into your work? Is there a specific part of Turkiye’s music scene or a particular artist that’s caught your attention and influenced you?

ZJ: Yes, actually! I’m very inspired by Sufi music, and Turkish folk music. I’ve always been hesitant to incorporate them into my music out of respect for the culture. I love Yildiz Tezcan and Tulay German. There is so much expression and melancholy in Turkish folk. I love it so much. Also love the work of Cemal Reşit Rey. Turkish music is so deep and powerful, I really feel connected to it.

You’ve mentioned that you enjoy noticing and collaborating with people who are on a similar path. I’m guessing that path is more experimental music than opera. Are there any artists you’d consider examples of this path you’re on?

ZJ: Hmmm, honestly I’ve struggled with finding other musicians who I can look up to who are on a similar path. I’d say the closest is Diamanda Galas, who I have the utmost respect for. Her career has been so inspiring to me. She has an uncompromising vision, and is totally committed to her work. I’m also very connected to Maria Callas. Of course, she operated in a totally different field, but her devotion to her work was unparalleled. I think of her as a guiding light. I also really appreciate Marina Abramovic, Maria Tsvetaeva, Nicholas Roerich, Sergei Parajanov and Andrei Tarkovsky. These are people I keep in mind when considering elders who have paved a path for me to follow.

Joanne Pollock is someone who stands out among the people you’ve worked with. I know her from the Poemss project she did with Aaron Funk (Venetian Snares). How has Joanne’s perspective influenced you?

ZJ: I love Joanne! Not sure she has influenced me, but she’s a great artist and good friend.

Also, I’m curious about your music and beats. I assume you write them yourself, it would be exciting to hear extreme breakbeat or break-core in tracks like “Bound.” Have you ever thought about collaborating with Aaron Funk?

ZJ: Yes, definitely. I love Aaron. We’ve kept touch over the years, and one day I do hope we collaborate. I really loved his project with Daniel Lanois. He’s a real one, for sure!

Before we finish the interview, is there anything else you’d like to say?

ZJ: I’m so excited to be back in Istanbul for the concert, and really hope to make my short time in Turkey worthwhile. See you!