"Experiment Farm Road" had just been just a collection of weird stuff that I liked, no grand marketing scheme or anything. So when it did well, I became more daring. I had been listening to a lot of "Smiley Smile" by THE BEACH BOYS - a 1967 drug-fueled mosh that convinced everyone Brian Wilson was insane. On that album, songs were cut up from five or six takes and sliced together in jarring patchworks. I wanted to try that technique, but mix it with dance, punk, and old film scores. I had already completed and recorded two songs, "South Railway Street" and "Kiss 'til We Crash," but decided to trash what I had and start again with the cut-up technique. I brought in a slew of my favorite musicians, some from the first record, and we did loose takes on the changes. I recorded anywhere from 1 to 3 minutes of a song at a time, mixed them separately, and then Blaise Barton and myself put them into a computer, and assembled back in order. You then could hear the song as I wrote it beginning to end, but it had these jagged edges that shocked you. "Burning Witches" is probably the highlight of this experiment. I had always planned to have a vocal on "Here Come the Bugs" and "Black Saturn," to give the listener a foothold. Paris Triger's band SEVEN SPEED VORTEX had been around, but hadn't released much. Then, I heard their "Drinking Flowers" single and called her the same day. She brought in her writing partner Bench, and before ya know it we had 4 songs - these two and two that later appeared on "Theories of Jet Propulsion." It turned out to be a great collaboration, since it lead to TRAVEL, "Hard Luck Din," and working with STARFISH RECORDS.