I think in everything we did, there's a sense of tension and a sense of things pulling in a different way. It's interesting calling it "beat music". That's quite true, the rhythm is up to the fore, it's got a slap bass, and it's got "funk" in the title. But I think there's always a level of irony when we did those kind of things.

We had always used found sound, but we had always used it in an analogue way. And it was the early days of using collage and sound in a digital way. MTV, a couple of years later would be that way.

[Kino] worked really well as a song title, and to build into a lyric, and also how we embraced mulit-media at the time.

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.

Crackdown had Dave Ball playing on it. Flood worked on our next album, and Adrian Sherwood worked with us on Code.

We were coming from a completely different place, which was saying "sound" is what you want to define it as, and you can shape it into music in whichever way you want.

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