Looking back, I think we were very much a part of democratizing music, and we wanted to demystify the process of making music - to show it's a myth.

I think that's the fascinating thing that exists now. This contrasts with a celebrity art and celebrity music culture.

As sonic journalists, we were increasingly becoming bombarded with global images. It was the early idea of the cut-up, the idea of images being juxtapositioned, which we were doing with sound. That was the early days of samples.

Even though we were influenced by American culture and music, we like the rest of Europe have been colonized with that in the post-war period. At the same time there's a sense of dirty earthiness and Europeanness and Britishness in it as well.

I think what we tried to do lyrically, vocally and musically was to capture a sound.

Going there [Japan] in the early 80s was quite a culture shock. I think the bombardment of Shinjuku and all that would have filtered through, which certainly informed things we later filmed.

[Kino] worked really well as a song title, and to build into a lyric, and also how we embraced mulit-media at the time.