I feel like with our shows it always feels weird to be performers on stage and not engaging in audience interaction in some way - that exchange of energy is very much a part of the sound.

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 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.

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.

I feel like utopia is neither here nor there. It's in that sort of space where you feel the most present, and that can be on tour [or] at home. It's easier to get to that place on tour because your environment is constantly changing, and from a very primal, evolutionary perspective, you have heightened awareness when you're in an unfamiliar place, so it's easier to access that state.

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.