I think we saw our reaction coming from Dada, but at the same time, it formed into punk, which was very much a reaction to the social conditions. That was part of it for us as well, and that's why we were kind of swept along with punk.

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

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 also worked with Marshall Jefferson for Groovy, Laidback and Nasty. So we were lucky to work with some really great people.

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 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.