Stephen Mallinder

It was an important period for us, because even though we weren't a "punk band", and what became a model for a…

— Stephen Mallinder

Music doesn't have to be so rule-based - and so strict in its structures, construction and perception.

— Stephen Mallinder

We had always used found sound, but we had always used it in an analogue way. And it was the early days…

— Stephen Mallinder

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

— Stephen Mallinder

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

— Stephen Mallinder

I think probably underneath it all, film [Kino] has its own rhythm and its own dynamic, and we were trying to capture…

— Stephen Mallinder

If you're going to change things, one of the things we had to change is to get away from that traditional model…

— Stephen Mallinder

Even though we were influenced by American culture and music, we like the rest of Europe have been colonized with that in…

— Stephen Mallinder

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

— Stephen Mallinder

We were iconoclastic. We weren't there to sort of follow the trends really. So it was important that we were making a…

— Stephen Mallinder

Even if that statement was ambiguous, we kind of wanted to cause a stir. We thought that by having the name "Cabaret…

— Stephen Mallinder

I think we saw our reaction coming from Dada, but at the same time, it formed into punk, which was very much…

— Stephen Mallinder

I edited Big Funk, some of the footage was shot by Peter Care. We were film buffs as much as music buffs,…

— Stephen Mallinder

You don't have to be trained in music to create sounds and to produce and release music. That's what we were saying…

— Stephen Mallinder

Some of it was shot in Berlin, but a lot of it was filmed in Hamburg, along the Reeperbahn in Hamburg in…

— Stephen Mallinder

We've always been observant of things, and I think Crackdown was very much like that and the film interpretation was that journalistic…

— Stephen Mallinder

In the 80s, we were still living in a kind of Cold War environment.

— Stephen Mallinder

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

— Stephen Mallinder

This was in the sense that if Dada was reacting to the morality and aesthetics of pre-WWI, then we were very much…

— Stephen Mallinder

As sonic journalists, we were increasingly becoming bombarded with global images. It was the early idea of the cut-up, the idea of…

— Stephen Mallinder

I think you have a certain level of confidence in what you do. "Arrogance" is the wrong word. I think when you…

— Stephen Mallinder

We were responding to a period in the 70s when we started that it was very much you cannot be involved in…

— Stephen Mallinder

We were fortunate at that time we were working with Virgin, and with Flood, probably more well-known as Brian Eno's engineer now…

— Stephen Mallinder

We were coming from a completely different place, which was saying "sound" is what you want to define it as, and you…

— Stephen Mallinder

I think that's the fascinating thing that exists now. This contrasts with a celebrity art and celebrity music culture.

— Stephen Mallinder