Protocrystalline is an album-a-day that was conceived, written, played, recorded and mixed between thursday 14th of April 2005 (14:40 hours) and friday the 15th around 5:00 AM. This was done by The Francisbacons in a 24-hour time limit (near exhaustion!), including the album sleeve which you can see above. If you want to know more about the album-a-day project, visit crapart.spacebar.org/aad.
The Francisbacons are:
Francis Bacon (the writer) and Francis Bacon (the painter).
The name of the band, the album and all of the songs were a result of the wikipedia Random page generator. We wrote down the random article titles that appeared and then composed the songs inspired by each title.
You can listen to the entire album on streaming here (m3u file) or download the whole thing in a compressed file here (zip file). You can also download or listen to the songs individually by clicking on the titles in the following paragraphs.
The comments after the songs were written separately and simultaneously by each of the Francisbacons some days after the recording, then put together.
The writer: It's my favourite of the album. It doesn't say anything but it says a lot fo things. I think it's about promises, but that's something I thought of afterwards.
The painter: This is my favourite. I like how it sounds, it reminds me of Twin Peaks and a dream and an airport. I think it took us three hours to do this song, we were still figuring out how to be quick about it.
The writer: It's the first waltz on the album. It sounds like a carnival, but it's sad. Actually, it's a secret.
The painter: What a wonderful melody, I'm very proud. It's another one of my favourites. I think at this point we were going in a strange direction for what we usually do, but a very solid and interesting one.
The writer: It's my least favourite of the album, but still I like how it sounds. I think it's also about promises, but the ones you don't make.
The painter: We wanted to do a POP song, whatever that means. It sounds like Astrud, it sounds like Chucho and a thousand other bands. It was fun to change and try to be everything but original. Reif (the writer) wrote the lyrics, for me it was impossible with this process. Pay attention to the cowbell in the chorus.
The writer: I really like the lyrics, and the music. It's just an organ and two voices. It's very sad. This one is about things that aren't said, but it has nothing to do with promises.
The painter: Another attempt to imtate a style, that of The Postal Service this time. At least that's how we started. I have a weakness for organs. We started to sing on top and it turned out nice. I think it's the most organic song on the album. I think the lyrics are beautiful. I just sing, like always.
The writer: It's an improvised transition, a fill-in.
The painter: A fill-in song, a prank.
The writer: This is the disco song of the album. It's the funnest and the most joyful. It's kind of incomprehensible, but since we weren't saying anything it's not too important. This one isn't about anything, not even promises.
The painter: I had always wanted to sing something like “shake your ass” or “move your booty”. I lose control in this song and get closer to what I usually do. Handclap.
The writer: This is a blues in korean, about the subway of Daegu, which is a city in South Korea.
The painter: Reif and I on the sofa. It was late and our backs hurt. He read the names of the stations of the Daegu subway line (in South Korea) while I improvised something vague. He liked the mix and we repeated it, recording this time.
The writer: This is a happy song about waiting in line and being a boring person, and about putting effects on your vocals that are like those used by the Magnetic Fields.
The painter: Monty Python song. I've never liked the idea of being a guitar virtuoso, I think you can notice here. I still think it's too long.
The writer: This one is about the utilities of the UNIX command line. The lyrics are the best part.
The painter: Another fill-in song. This time Nintendo-esque. I love these quickie-transitional-trash-songs. We should make more next time.
The writer: This one is very monotonous, very pretty, all ice. It's about escapism, and it doesn't have anything to do with promises either.
The painter: I can't stand this track. I thought that maybe by doing the initial base I would have found something that would really excite me, but not at all. I can't even listen to the whole song.
The writer: This is the second waltz. At first we wanted it to have several voices, but then we didn't anymore, and we kept it like this. Sampled piano and voice.
The painter: And then they'll say I'm pretentious. I was totally against that angelical choir, but there was nothing to do.
The writer: This is a song about how tired we already were. It's the chords from the first one on piano, and the voice has many effects. It's about being very sleepy, and the promise this time is a promise of going to sleep.
The painter: It seemed long and tedious then, but just like Victoria Class, I ended up liking it. This song started out with the idea of closing the album with the same riff it had started with, I'm not sure if you can tell.
You can find us or contact us at:
Francis Bacon (the writer): email@example.com
Francis Bacon (the painter): firstname.lastname@example.org / www.fernandezmiron.com