I think I've always been slightly addicted to not repeating myself. When you're doing something the first time around, it's often the best time. I think 'Blank Project' is about carrying on. Its that thing where you're making something because you have to, but you don't know how or why.
I think I've grown up in a mixed environment, and maybe a lot of the time I haven't really belonged anywhere in the way I've dreamt of belonging to, you know, living on the street and playing to all the kids on the street, growing up together. I suppose 'Raw Like Sushi' was a place where all of those things could come together.
I've always had mixed feelings. I don't know if it's any better or worse. I do think there's a really boring side of what's going on now - the over-repetitive, oversexualized thing. There's a lot of women that know better, that are really beautiful and sexy, but it's like: We know you can shake your ass in a G-string and wave it around, it's not that risque. It's not dangerous. It's very obvious and boring.
I've always been doing stuff, being creative. But I got to the point where I starting to feel this longing, craving, itchy feeling - which was the first sign that it was time. I've made a few attempts to make other solo records, but when I've looked back at the body of work I've always felt like I was never quite there.
I like Kelela. I like Twigs. I love the more old school; I hate to say old school, but I love Peaches; I love Peaches, I love Cat Power. And there's constantly new things coming up. But there's something so beautifully powerful - for me being a woman, when there's a woman doing something, it really strikes a chord.
When I was going to school, I just wanted to be like everybody else. I would pull at my hair to try and get it to lie straight. America was where I would consume and absorb black culture, buy Ultra Sheen and watch 'Soul Train,' but I still had that weird in-between thing.
I found my place when I moved to London, where I chose to live, making my own tribe who were all from different backgrounds and places. The class thing is very dominant there, but in the cultural cross-fertilization, I felt a sense of belonging.
When 'Raw Like Sushi' came out in the U.S., I wasn't considered to be black enough. They didn't really know where to put me. The music wasn't 'black black' sounding. It wasn't R&B; it wasn't straight up hip-hop, although obviously in that dimension and world.
I admire someone like Beyonce. She has amazing commitment. I needed to accept that I probably did not fit into that forum. Doing that 'The Cherry Thing' record was a big part of finding that place where I belong, where I may shine, but I never doubted it was there.
I don't think I would have made 'Blank Project; if I hadn't made 'Cherry Thing.' I think that was a real rebirth in a way, and a remembrance of how I like to make music best, the most. Like being in a more chaotic place, maybe. Like a place of making and being creative where the mistakes can be left in.
I don't think you can cover a song unless you love it and have a relationship with it. With 'Golden Heart' I felt a sense of responsibility. And when we were recording it in the studio, it felt almost dream-like. Something you might hear if you were in Senegal, with someone singing from the mosque in the morning just as the sun's coming up.
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