In 1988, I migrated to Paris. In possession of a radio (or me possessed by it) in a foreign city, you begin to stray across wild frequencies of the universal medium called ether and when it begins to stir we call it the collective unconscious. I got a show at the anarchist station in Paris, Radio Libertaire. I chose "Wreck This Mess": "Wreck" means causing the ruin of any structure - iconoclasm. "This mess" means the marketplace-reshaped inner ear. Consumption aesthetics, aesthetic consumption. WTM became an abstract explosion inside utilitarian radio. It was my way to get away from my old way of radio making. Wreck This Mess was a response to trop de blabla everywhere; an abstract explosion, a strategy of contrary seamlessness - against time without pleasure, labor without meaning, menace without fun, no talk, no breaks, no announcements, weather, time, news, gossip, chat, no playlists - unclog the aural and imaginal pathways.

October 1988: WTM emerges out of its personal anonymity to diffuse itself facelessly across the ether. On-U Sound, rumbling bio-rhythms, destabilizations of expectation through impossible segues, threading as many as 10 sources of sound (CDs, cassettes, LPs, microphones), all audio gadgets open at once, threaded through one another until it sometimes felt I was composing music - live, on air. I discovered that synaptical exchange called the segue which sinuously burrows into expectation, smolders between surprise and pleasure, knowledge and satisfaction, easy listening and difficult musics. Almost immediately I was contacted by Manu & Laurent, a team of sonic proselytizers from another station AKA PanouPanou. We became comrades sonique. Over the weeks they began to infiltrate, pirate, morph and infect W.T.M. in an insidious but organic manner. When I periodically withdrew from Paris, the WTM mutiny would take the controls in full accordance with its own bio-sonic laws of mutation. In 1991 I moved back to NYC to continue WTM there: Seamlessness meant prodigal strategies of uninterrupted sound-machine, backmasking as the opposite reverse spin of commercial radio. An integration of one sound with another, a daisy chain of overlapping instants, conversing, collaging, mutating - sounds vs cut-ups vs musics vs texts. Live on air! . Seamlessness derationalizing song as passive product - music becomes more of what it is.

In France, Manu migrated south, Brad Lay [veteran of the Eddy Mitchell & American Embassy scandals] played the Irish pub circuit with his Jewish cowboy brogue, Black Sifichi became Sub Para Dub at Radio Nova [also Audiometric at Radio Aligre]. But it was Laurent, 1/2 Panou, who flourished, became the Parisian cornerstone of speculative musics and now he's enthroned at the control board, ready to pilot WTM into the 2nd decade of aural gratification. WTM has become something different and greater. And vol 2 of WTM only proves it.