Really, everything for me comes from "Manifestra." It was an incredible gift of a song; it really describes an important moment in my life.

It's funny because my main awkwardness around writing the song had little to do with the method.

I started to understand what the song could be about. The ache of nostalgia even for things we don't like, the commitment to keep moving despite that ache. It made me think of how I relate to my privilege - as a white person, as someone who grew up upper middle class.

As a listener, I like a wide range of sounds.

I learned how to have a little bit of distance when I explained songs and a little bit of distance when I wrote them. I think this is more interesting any way in art.

My approach to writing and recording now is pretty much the same as when I started. Except now I worry even less about what people will think of what I made. And I am not drunk.

Lenelle Moïse's poems render the abstract - policy, disaster, history, diaspora - specific. Her words make the political not just personal, but corporeal: the beautiful system of the human body as canvas and subject, perfect in all its attendant complications and complexity, and still ruled, undeniably, by a warm, beating heart.