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

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

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

We were fortunate at that time we were working with Virgin, and with Flood, probably more well-known as Brian Eno's engineer now and U2's producer, etc. Even though we weren't working in a strictly popular music area, which was great, we were lucky enough to work with people who were on the cusp of those sort of things.

One of the tropes of our videos is that they were very rhythmic with clipped edits.

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.

We were responding to a period in the 70s when we started that it was very much you cannot be involved in music unless you studied to do music.