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.

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.

We were sort of coming from an angle where we wanted to break rules.

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.

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.