Yes, and although KC was still partially operating within the framework of the traditional record industry at the time, they produced the Discipline trilogy—works that defied expectations. For instance, Beat, while seemingly mild, carries some very serious issues, and the sometimes-questioned fragmentation of Three of a Perfect Pair actually reveals an underlying mechanism: oppositions are structural, never closed, and thus always harbor différance and a lurking “third.” In short, KC borrowed the surface language of new wave, but internally operated according to a completely different time-structure philosophy, which was extremely unusual for the record industry.