Of the 124 entries in my discography as of today, my 2018 album consisting of a single 75 minute piece of music, Steganography, is my favorite. Not just because it’s one of the most recent, and not just because I worked on it regularly from 2000-2018, but because it’s very specific to a lot of things I like, and it’s an album I always wanted to hear another band make, but couldn’t find.
(Grand Theft Marmot is the artist name I release all of my non-chiptune solo music, because there are way too many Brian Peters making music, and I even get their 1099 forms and stuff, and it’s a nightmare.) There are two sections/movements of Steganography, in particular, that I am more excited about than the others. This is one of them. I wrote most of this section in 2010 while living in a 100 year old old school house, in the middle of a civil war cemetery, built atop a Native American burial ground. (That’s not a joke or something. I actually lived there.)
It’s mostly built upon the idea of how the one fast guitar riff in the song can be interpreted as either 8th notes or triplets, with both sounding equally as natural, and then playing with a few other permutations of that tempo with other polymetrics on different instruments. Here’s a few highlights though:
The breakdown at 1:10 to 1:22 features a few recordings of different parking garages, as well as scratching the strings on a guitar in a triplet feel. I’m not sure why I felt completely and specifically compelled to put the garage ambience in, but it’s probably better if I don’t think about it too much.
There’s an ebow solo at 1:22 that I recorded in 2013. I especially like how much you can hear my hands shaking from my essential tremor, especially at 1:44, 1:57, and 2:05, where it sounds almost like a tremolo effect. (This wasn’t intentional.)
There’s a definite nod to Arvo Part from 2:34 to 3:23
At 3:23 it breaks down to this wonderful piano/guitar counterpoint section, which then turns into a full blown polymetric barn burner guitar solo from 3:58 to 4:42.
I started straying from the ebow to playing picked guitar solos when I went to fill in all the empty solo sections of Steganography in 2017. The different inherent articulations from the change, plus a number of years of life lived between 2013 makes for an almost unrecognizable second style of soloing in the song.
Fun Fact: This prominently features the sounds of all the guitar pedals I invented for Dynamo Electric Audio.