I'm always anxious in introducing sounds that don't originate with the cello.

Sometimes when I'm traveling, I feel a little bit dislocated, especially the transitions you make when you're traveling - you go to a different city every day.

I'm really not working in a environment that's sonically pristine. It's not a conventional studio, obviously; it's a bit ramshackle.

Learning how to record has been super empowering for me, because I spent so many years going into the studio and watching other people do it. I guess a lot of musicians have gone through this because now recording is really available for everybody.

I find when I'm touring or when I'm traveling, I just enter this other world kind of. It's much easier for me to be creative and be unselfconscious about creating when I'm home.

I can really only can record at home.

I find that I'm always struggling with the noise of the city. When I get a good take, there will be a horn or a siren or something. So it makes me very conscious of outside sounds, which in a way maybe led me to incorporate the field recordings.