I recorded harp first or singing first. I recorded it all together. Part of the reason is that I don't know how to play the songs without also singing. I forget how they progress. I don't think that any of them are verse, chorus, verse, and so on. They are not simple.

There's something fundamental to the harp that has retained its appeal my whole life. It's an instrument I am just in love with.

I have a lot of interest in interior rhyming; not just rhyming at the end of the lines, but playing around with rhymes within the lines, playing with where the syllabic emphases in the sentences are, lining those up at strange moments in the line of the song. I’m not sure if that comes across or not.

I wanted to write songs which I think is a different thing. I wanted to write music that is informed by folk music. The chord progressions are obvious references.

Never get so attached to a poem that you forget truth that lacks lyricism.

The so-called positive press has in some ways been more difficult to swallow than the negative.

My voice in combination with the harp - which, by the way, I use because I've played it my entire life, not to make some statement about the harp - somehow has ... coloured people's interpretations of the music and projected an idea of childlike or fairytale quality or innocence. Which sometimes prevents people from listening to the songs the way I would like them to be listened to.