If you're going to change things, one of the things we had to change is to get away from that traditional model of rock music, and we were a part of that.

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

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.

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

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

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.