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

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.

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.

Some of it was shot in Berlin, but a lot of it was filmed in Hamburg, along the Reeperbahn in Hamburg in the famous red light district. Kino is obviously German and "film" and "cinema" and we were always cinematic in our thinking.

Crackdown had Dave Ball playing on it. Flood worked on our next album, and Adrian Sherwood worked with us on Code.

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.

We were iconoclastic. We weren't there to sort of follow the trends really. So it was important that we were making a statement against that.