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

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.

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.

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.

Crackdown, the video, interpreted and reflected a sense of authority and austerity and a sense of slight, impending doom.

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.