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 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.

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 think underneath it all [in the Big Funk] was a little bit of a Europeanness in it.

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

Even though we were influenced by American culture and music, we like the rest of Europe have been colonized with that in the post-war period. At the same time there's a sense of dirty earthiness and Europeanness and Britishness in it as well.

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.