“All plots tend to move deathward. This is the nature of plots.” ~ Don DeLillo
To try and describe the effect of Simone Schmidt’s voice is to commit yourself to an ill-fated plot. Though she uses prose, guitars, voice–all the usual weaponry of the music we talk about here–she succumbs to none of their standards. Her work lives on a different dimension. It is so slowed down that as it oozes through time and space, it seeps into every dimensional crevice in its path–it could pass through glass, it could saturate wood, it could come from 1974, it’s traveling to your funeral to wait for you. It’ll take up as much space as you give it–between your ears or your side of the Mississippi. It’s pop music for atoms and waves. George Jones taking Neil Young’s drugs. Zombie spirituals. Elemental Listening.
Instead you take the “passive” plot of experiencing Schmidt’s voice. But when your storyteller is as strong as she is, this is no less visceral. She will have your knees buckling in-time to drum machines, your intestines singing “Home on the Range.” The last song is called “Undertaker;” there is, indeed, a deathward trajectory to this thing; if you lose the plot, the plot will find you; still, a passive trajectory that ain’t.
Find Lost the Plot at Triple Crown Audio Recordings of Canada, at iTunes. Check out Fiver’s original 7″ at their Bandcamp and Indoor Shoes Records. Follow Fiver on Facebook and bookmark Ms. Schmidt’s blog Entropic Forces for news of all her bands (Fiver, One Hundred Dollars, The Highest Order).