Björk then set about making a record with a domestic mood featuring "everyday moods and everyday noises translating into melodies and beats", hence its working title "Domestika". Marius de Vries told "Sound on Sound" that the project was driven by an "overriding aesthetic of being homely and comfortable", which had "all to do with Björk wanting to make a record as a reaction to the wanderings and the pain she experienced making "Dancer in the Dark", and how much that had taken out of her, to make a record about the place you come back to after you've wandered." She began to use her laptop to write music, and "Vespertine" has been retrospectively referred to as "her laptop album". For the string and music box arrangements, she used Sibelius scorewriter software. In Iceland, programmers Jake Davies and Marius de Vries joined Björk for a writing session, laying down more tracks, in addition to nine already mixed. Then, she "set up camp [...] during summer" in a New York City loft, and began to work with harpist Zeena Parkins. Much of "Vespertine" was "composed, crafted and edited" in that loft, in what has been called the "Domestika sessions". Some tracks were recorded as an overdub "on top of a slave mixdown" of the Spanish sessions. As she wanted to write her own songs on music boxes, Björk contacted a music box company requesting transparent acrylic boxes because she wanted the sound to be "as hard as possible, like it was frozen". Björk decided to use instruments whose sound would not be compromised when downloaded from sites such as Napster. She explained: