Hopefully, with some years of practice and just getting to that state, I'll try extreme sports again.

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 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 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.

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.

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.

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.

We [with Nimai Larson] listened to hardly any music except Hare Krishna music growing up and the occasional Garth Brooks that our babysitter would play for us. From a very early age, we looked at music as mantra based, very cyclical, and having no linear time.