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

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.

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.

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

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

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.

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