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.

In the 80s, we were still living in a kind of Cold War environment.

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.

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.

In that period, we had the Cold War mentality imbued through us - the Post-war [environment] and the Cold War. I think we were reflecting some of that. This was before the Wall collapsed, etc.

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.

We had always used found sound, but we had always used it in an analogue way. And it was the early days of using collage and sound in a digital way. MTV, a couple of years later would be that way.