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

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.

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

Looking back, I think we were very much a part of democratizing music, and we wanted to demystify the process of making music - to show it's a myth.

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.

I edited Big Funk, some of the footage was shot by Peter Care. We were film buffs as much as music buffs, and so there are film reference as well as sound references.

We were working in entertainment, in the music industry, with popular music, it was important, but it was something that we also felt was a responsibility.