Instead, she decided to imagine what 'feeling better' might sound like. “I just did a full turnaround and was like, ‘Let's just write some songs for when I feel better.’” A type of manifestation, the future she pictured wasn't one of grand achievements, but simply being back on stage with the band and well enough to enjoy it. In that sense,  became a way of writing towards a life she hadn't quite returned to yet.

That sense of possibility runs through an album that moves between psych-pop, funkier rhythms and guitar-led moments. Jackson often starts with an instrument or a sound she likes, repeating it until words begin to emerge. Her writing process sometimes involves an unlikely companion: muted YouTube videos, ranging from Disney films to four-hour GoPro drives through the desert.

Rather than drawing direct inspiration from what she's watching, she's looking for a way to escape her immediate surroundings. “Music is so transcendent in a way that it gives you this soundtrack to moments in your life that are sometimes quite mundane,” she muses. A desert drive playing silently in the background can offer a sense of being somewhere else, even when she's sitting in her bedroom at the keyboard.

The songs themselves can take similarly unexpected turns. “Gravity” began life as a power ballad, complete with multiple tempos and key changes, before Fern Ford suggested turning it into a disco track. Drawing on the drums of the Yeah Yeah Yeahs, Ford found a way to give the song more bite. “The drum beat in Gravity changed the whole song,” Jackson recalls. “After you came up with that, we were like, okay, let's go down that road.”