Even if that statement was ambiguous, we kind of wanted to cause a stir. We thought that by having the name "Cabaret Voltaire", that with it came a certain responsibility. It wasn't meant to be purely entertainment; it was meant to be something a little bit more serious - and to provoke people - wrapped within an outer wrapping of entertainment.

Music doesn't have to be so rule-based - and so strict in its structures, construction and perception.

We've always been observant of things, and I think Crackdown was very much like that and the film interpretation was that journalistic view of that situation.

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.

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

We were sort of coming from an angle where we wanted to break rules.

I think in everything we did, there's a sense of tension and a sense of things pulling in a different way. It's interesting calling it "beat music". That's quite true, the rhythm is up to the fore, it's got a slap bass, and it's got "funk" in the title. But I think there's always a level of irony when we did those kind of things.