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.

One of the tropes of our videos is that they were very rhythmic with clipped edits.

Going there [Japan] in the early 80s was quite a culture shock. I think the bombardment of Shinjuku and all that would have filtered through, which certainly informed things we later filmed.

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.

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.