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"So now I'm a fully formed pathological liar." She's kidding. At 17, she decided to move to London to continue her musical education.

She lined up a school, a sponsor and a concert at Cambridge University.

The themes of unrequited love or decaying relationships that peppered their debut continue here without the same kind of bold, cinematic backdrop and delivered with a straighter, more Pop-led approach.

If Lee Hazelwood and had taken a much darker turn, this is what it would sound like.

Thanks to a chance encounter with some Australians in a pub, she learned there was a dire local need for supply teachers, particularly those skilled in French.

Zeffira lays her soft vocals atop a series of gauzy baroque-pop compositions — it's as simultaneously beautiful and eerie as an evening stroll through empty wilderness.

A haunting, feverish take on '60s girl groups, the well-received record was praised by the Guardian as "poised and beautiful" and hailed by NME as an "unsettlingly melodic triumph." While Zeffira was no longer hanging on the words of critics, she now had two things back: a direction (pop music) and her confidence.

She would need the latter especially for her next move — a solo album.

Upon her arrival at Heathrow, she was promptly deported due to a mixup and sent to the States.

She cleared up the confusion, but by then her school had found another soprano soloist. "It changed the entire course of my life," she recalled. She went back to London with no money or place to study.

"It was the worst review I've ever read on anything or anyone — any book, film, TV show, restaurant," she remembered.