Tephrochronology is the use of volcanic ash deposits as a geological dating mechanism. The Raccoon is Elliot Racine, the Nudibranch is Dan Sarna, and their creative forces combine to make the Raccoodibranch Artifact. This \"Artifact\" is fluid and elusive, and spans the many years they have been playing together (since 1997!), while putting into play virtual eons of influences. Therefore the tephrochronology is vital in that it is an attempt to frame the Raccodibranch Artifact discretely in time.
The Raccoon and the Nudibranch began recording the Artifact in 2006 Palo Alto, California. The first track laid down was a fragmented gyil riff that flew from out of the cloudless blue sky into the room and onto Pro-tools. The track was subsequently morphed and modulated, transposed and layered until it eventually became the opening track, \"Faders On The Move\". The album developed in a similarly haphazard and inspired way and the last track was laid down in 2008 in San Francisco.
While the primary instruments, trumpet in the case of the Nudibranch and bass in the case of the Raccoon, provide the foundational elements of the Artifact, countless other instruments and textures are brought in to suffuse the sound horizon. Some of the songs were full-bodied embellishments of earlier ideas and sketches (Surrender The Music, Bach like Building Blocks) while others were more spontaneous and improvisational in their arrangement (Faders On The Move, Why Am I Such A Horny-Ass Bastard). The process involved equal parts humor and sincerity.
Melodic, rhythmic, and other ideas from across the globe were recruited in an attempt to distill and articulate an evolving musical relationship in some sort of cohesive product. Ultimately, the magma that is the Tephrochronology of the Raccoodibranch Artifact congeals in track 12, \"Land of a Trillion Rectangles\", revealing the Artifact for what it is: two humans, one with a hunk of metal, one with wood and taut strings, striving to express themselves.