I think underneath it all [in the Big Funk] was a little bit of a Europeanness in it.

One of the tropes of our videos is that they were very rhythmic with clipped edits.

We've always been journalists - and have seen ourselves in that way. But we sort of recontextualized it through music.

We were coming from a completely different place, which was saying "sound" is what you want to define it as, and you can shape it into music in whichever way you want.

This was in the sense that if Dada was reacting to the morality and aesthetics of pre-WWI, then we were very much a reaction to the pomposity of rock that existed within music at that time.

If you're going to change things, one of the things we had to change is to get away from that traditional model of rock music, and we were a part of that.

I think probably underneath it all, film [Kino] has its own rhythm and its own dynamic, and we were trying to capture the movement of film and cross-reference it with music.