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.

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.

I always look at that stuff as something that's not a separate entity from the music but a visual representation of the music. I feel like your external appearance should be in harmony with your internal appearance. That's mainly our approach to the visuals.

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.

My parents both renounced their material lives and were living as monks at an ashram in L.A. when they met each other. So we were always raised in this environment and when we moved to the ashram in Florida it was just like, "Oh, wow, now all of a sudden there's more people like us," because we were growing up in the middle of Texas with our parents, always being the weirdos.

The way that music is approached in the temple is very call and response; it breaks down that barrier between performer and audience.