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

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 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.

My parents joined in the 60s and at that time it was really important - there was a group mentality. I could be pulling this out of my ass, but I feel our generation approaches things on a more individual basis, like we're more personal and don't need to be a part of a group.

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 had writers block for months afterwards because I was just so taken aback by all of the sounds I was hearing. It's almost like hearing the most beautiful music you've ever heard, so you're like, "What's the point of me making anything?" It was this living sonic organism so the idea of recording something just seemed like taking this living thing and mummifying it.

If you repeat something enough it can literally physically change the air particles around you and it can infuse the air with this sacred sound vibration, or it can change your material body, like transform your flesh to spirit. These are all beliefs within the Hare Krishna philosophy we were brought up with.