There are a lot of unspoken things with me and Nimai [Larson]. We're very yin and yang, neither one of us really treads on each other's toes. She's this wizard of the rhythm world, and I know nothing about that, but I can dabble with melody and lyrics and that's something she doesn't really have any interest in. We complement each other in that way.

One of the reasons why I chose to live in New York was that there is this sense of your environment constantly changing.

I really feel like there's a void in this world for music that acknowledges that spiritual aspect of these activities as well as just the sheer physicality of them.

When we moved to Florida we experienced it on a communal level, in a more structured religious setting, with temples and different worships. That sense of community is very much interconnected with music for us, and thinking of music as this living organism that offers a space of mystical participation with forces outside yourself.

I know people within the Hare Krishna community look at pop music as secular, different, and something separate from spiritual music but for me, there's no difference.

I listen to pop music and it sounds like mantra to me, there's this power to it. There's also something to be said about how it reaches people on a mass level, there's some magic to that.

I really wanted to be able to make the music that acknowledged the metaphysical aspect of extreme sports because when I started watching GoPro videos, the thing that struck me the most was that the sound seemed completely detached from the imagery.