fresh off my press

missing the deadline on the great recalibration

a poem written prior to the lunar eclipse of April 8 upon realizing a failed plan

i am getting concerned that we did not finalize the score for the eclipse

we failed again to reach for a consensus about what we should all say when the moon blocks the sun in full

i know i know i could write something quick

and that i need not attach the ego to the words

after all, it’s not so much about what people say

but that we all say it at the same time during true totality, just for the few minutes that the moon blocks the sun

and that we pace ourselves

and pronounce the words just at that angle with that so slight a curve

in as smooth a move as the planetary orbs do

and not for exactitude’s sake, but for the sake of things to come.

and when i say “we” i mean it loosely

“we all” can just mean everyone who opts in

and truly, it makes more sense to just decide a thing to say now and start campaigning

since we only have 4 days left to coordinate.

because my understanding of the great recalibration is we need only rally those people in the path of totality to say the same thing at the same time.

that means everyone who’s already in it by hazard of living life within that path,

and everyone who is entering the path for the purpose of viewing totality

but also any incidental travelers within that relative margin,

albeit massive.

truckers too…

but all the other people outside the path can just do their day like normal

going about the earth unexpressed.

so what i’m trying to say is: don’t be overwhelmed.

it’s not a worldwide effort as much as a concerted and targeted one and so yes,

i think four days might be enough to get it together

and you know, you can opt in

you can opt out,

all that’s asked is that if you’re not wanting to go about this plan-

if you’re not wanting to say the words-

just stay out of the path of totality and let all of us wanting

to proclaim it pure and simple with no detractors.

i know there are some of you who aren’t very eager for the great recalibration

some of you who are afraid of change:

you’re happy with the order of things

you’ve worked very hard for where you are and you don't want to see it all upended.

you spent a lot of time in discomfort and you finally found the sweet spot and the present circumstance is very much yours.

there are some of you who have adjusted to whatever it is that is happening even when it hasn’t been to your liking,

and you’ve toiled to attain that plasticity.

you say you’ve grown to like your husband,

you enjoy collecting Scene points

and you’re not eager for a balance change.

you coo you’ve transcended the impact of human carnage: the child's cry, it’s all just noise now.

you claim that it’s actually really comfortable to be living moment to moment,

and that by curtailing longing you’ve uncovered virtue.

if this is you, all i want to say is that I actually heard that after the great recalibration it’s blissful for everyone.

no matter how radiant you are, no matter how well adjusted or accomplished

no matter how jeweled you’ve bejeweled your retaining wall

or how dull your back has made the blade

no matter how naked you bask in the sea of acceptance:

it gets better.

you say you have 2 cows? you’ll have 3 cows after!

or you’ll lose your desire for cows

depending on how cows factor in come the great recalibration

because actually none of us can say

and if we could, well, we’d be recalibrating manually.

and i know it’s a moment where you’re also doubting the science

and i understand that as well

i don’t think most of us understand how it’s all going to work

how precise of an angle is required to cut it

or how the vibration of our voices bouncing off the full fucking shadow can rip a hole through time and create a new opportunity for all.

but it seems worth a try to just score this thing and see if it works.

in summary: we’re looking at maximum two and a half minutes vocalizing in unison while the moon eclipses the sun

just everyone involved has to agree to do it

it’s ok if someone else wants to do the words

but if we all need someone to do them, i can.

- s. schmidt, April 4, 2024

Spinning Out and Going Nowhere

Didn’t we have a time?

We had a time! And I want to say thank you to photographer Matt Horseman for documenting it.

At times it feels like Gods are against you. Other times as though they don’t exist. And most of the time like they don’t really care unless you introduce yourself. The events preceding this show saw each of those feelings in quick succession. Sappyfest 2023 saw the Atlanticks (Jeremy Costello on bass and synths, Bianca Palmer on drums and lap steel, Nathan Doucet on bass and drums) team up with Graeme Patterson (huge tick) for a midnight show delayed by a flash flood that evacuated the main tent.

On the reissue of One Hundred Dollars' "Forest of Tears"

The first full length record I ever wrote and recorded with my old band One Hundred Dollars, has been reissued on vinyl. It hasn’t been available for a long time and isn’t on streaming services.

Forest of Tears was recorded at Elder School house in 13 hours in 2008 by Rick White. It came about because Rick had seen me and Ian play as a duet when we opened for him at the Music Gallery, and offered to make our record. I was told this was a great honour, but only listened to George Jones and had never heard of Eric’s Trip, so I spent most of my time nodding like I knew at everyone who was wide eyed and stoked for me. We assembled a band quickly. Ace pedal steel player, Stew Crookes, had already graced us with his angelic tones after seeing us play the Tranzac months before, and we asked Ian’s bandmates from Jon-Rae and the River to fill in the rest – Paul Mortimer on the bass, Dave Clarke on the drums and Jonathan Adjemian on the organ. We arranged the songs over a few rehearsals, went out to Rick and Brian’s, set up in front of some mics, played the songs, and ate a huge steak dinner.

To write this now in the past tense as if I was there seems like the only way to do it, but I’m not totally sure I was.  I probably necessarily don’t remember that time in my life. I know I was 24 and I had begun writing songs with my boyfriend Ian Russell a few years earlier, late in life for most songwriters. Mostly he’d write intricate music on guitar, I’d belabour lyric and form, and we’d fight about chord changes. Sometimes I wrote chords too. I swore I was singing what no one else seemed to be able to hear.

 Ian had been diagnosed with Leukemia in 2007 and we didn’t want to talk about it publicly lest it overshadow the music or the meaning. Cool thing was we didn’t have to talk about it publicly that much because it was Myspace time, and social media was only just becoming a tacky necessity that was decimating message boards. Clearly in some of the photos of the time Ian’s going through chemo - the Dana Farber protocol in particular. (Yes Ian survived! Our love didn’t! He’s making guitar music now too - you can listen to that on bandcamp: https://ianrussellguitar.bandcamp.com/album/in-light-2). I know that, at the time, performing live music on Ian’s good weeks was largely what I looked forward to, and writing songs was where I exacted what little control I felt I had left over my life. 

Maybe I don’t have the memory because I have song. Now, looking at the track list and singing the lyrics ever etched in my mind, some things are clear: On Forest of Tears, songs provided me the setting to experience an emotional life that had nowhere else to be lived. In Hell’s A Place I fantasize about escape and murder with a queer lover. In Careless Love the singer leaves her rapist. In Tirade of a Shitty Mom I take the voice of my worst fear: a mother rejecting her trans son. I imagine my grandmother’s love song on 14 Hour Day as she mourns my grandfather, and pay what I thought was an appropriate tribute to him on Marbridar. Nothing’s Alright is just as it was, and In Juice & Sage, I’m jealous and uselessly premonitory of the great toll and isolation that now, in my obsidian years, I know accompany pushing away/letting go. I do not find this record easy to listen to for its meaning, but I know it means a lot to people who came up with it because I keep getting emails that you want to buy it. So here we are, 2023, and Brian Taylor, generous as he was the first time around, re-pressed it on blessed Blue Fog Recordings. Thank you Brian dad, for making it possible for me to release music.  And thank you Rick for showing me how simple it is to make a record if the music is there.

Another clear thing upon listening is that I'm so grateful to the musicians who played with me in One Hundred Dollars. Everyone made the thing happen so generously, and we repeated the exercise so many more times. More than the recording, that act of repetition was a vital release for me. So thank you Jonathan Ian, Dave, Stew and Paul for offering me that. 

Money stuff at the end: Largely this music isn’t available digitally - it’s only on bandcamp.  https://bluefogrecordings.bandcamp.com/album/one-hundred-dollars-forest-of-tears-2008

My friend Creig just told me that in $100 in 2008 is now worth $140.14.  That said, the record still only costs $25 and you can buy it via the bluefogrecordings.bigcartel.com . Thanks so much, Simone Fornow

Outdoor Shows

For those of us who are feeling Covid cautious, who are immunocompromised, I’ve planned a few shows outdoors. You can find more details on my show page. Full band, featuring Jeremy Costello (bass and angelic voice), Nick Dourado (pure sound, piano) and Nathan Doucet (drums by birth). We'll playing selections from Fiver with the Atlantic School of Spontaneous Composition which we never got to do a release show for. We'll also be playing new songs and new material for as long as we want, which will probably be long.

The Joe Wallace Mixtape: Soundtrack to A More Radiant Sphere

I’ve never written seductive poetry and I have never written for money. I had an ideal for my poetry. I tried to write things which would stir people to think and to act. And I feel that it is a responsibility and I’ve always had that attitude towards it. I’m no longer interested in myself as far as that’s concerned. I’m interested in poetry. I rejoice when I see it spreading, where it does spread, if it does spread. Whether my name is attached to it, it concerns me little or none, none at all.” - Joe Wallace

In 2019, filmmaker Sara Wylie asked me to choose five of her great uncle Joe Wallace's poems to adapt to song. The songs would be featured in Wylie’s film , “A More Radiant Sphere” which premiered at DOXA 2022, and tells the lost story of Communist poet, activist and Canadian political prisoner Joe Wallace. 

Wylie’s film explores the historical record and looks at the way in which Canadian communists, like Wallace, are largely erased from popular accounts of the settler state’s formation and body politic. Born in 1890, Wallace wasn’t celebrated for his poetry in Canada.  In fact much of his poetry was dismissed for its style by his more renowned contemporaries like Milton Acorn and Northrop Frye. But he was the most popular Canadian poet in Eastern Europe and in China from the 1950’s until after his death in 1975. Schmidt chose five of Joe’s poems, wrote them into song, and then arranged them with John Showman (fiddle), Nick Dourado (piano) and Nathan Doucet (percussion). I was then asked to score the rest of the film. Working with Nathan Doucet and Nick Dourado, the three of us elaborated on and recontextualized the original songs’ melodic themes to create new instrumental pieces for guitar, piano and drums. The resulting collection, “The Joe Wallace Mixtape: Soundtrack to A More Radiant Sphere” is a study in two parts and two sides: first in song and second in melodic variation. You can pre-order the cassette or the digital version here on the You’ve Changed Records bandcamp.

Atop Of A Song : Watch It

In this three part series, ATOP OF A SONG dives deep into the making of Fiver with The Atlantic School of Spontaneous Composition. Learn what you can and thank you so much.

Playing LongWinter on September 24th

uhhh a press released from Longwinter:

“This fall, Long Winter is pleased to present a special 10th anniversary extension to its winter series. Together Apart activities run September - November 2021, with the aim of connecting DIY music and arts communities across Ontario, Europe, and beyond.

Festivities will include an outdoor rooftop concert series at the Garrison featuring FIVER, monthly editions of a cross-city zine, installations by partner curators Bunker 2 and Younger than Beyoncé, features by Unit 2, Sou Sou, Strangewaves and more, IRL / cross-stream live performances from Toronto (St. Anne’s) and La Station in Paris, France, with a multi-channel video program co-produced with Collectif Ascidiacea and Club Quarantine, articles and playlists on Long Winter’s blog, through StationStation radio, and more.


Sept 24 - MUSIC
Fiver
LAL
Status/Non-Status
DJ sets by FSR
Time: 5:00 - 10:30 p.m.
Tickets: $15 in advance (to reserve a place); pay-what-you-can at the door
Location: rooftop of Garrison (from lot across the street)
Ticket link: https://www.ticketscene.ca/events/37413/

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I'm putting out a new full length LP

I made this album throughout 2018, and was just so jacked to be able to tour it with my friends, Jeremy Costello, Bianca Palmer and Nick Dourado for 2020, 2021. But here we are, unable to go out and bring you the live music and I’ve mostly spent my time organizing with Encampment Support Network.

I’m so proud of this document though and the musical strides we took in making it.

you can order it from You’ve Changed Records - it’s an LP!

you can order it from You’ve Changed Records - it’s an LP!

Here are some photos from 40 years ago taken by top photographer, Jeff Bierk.

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Pleased to announce a theatrical adaptation of Audible Songs From Rockwood

Working with Frank Cox O’Connell, Shannon Lea Doyle, Michelle Tracey, Laura Bates and Carlie Howell on this incarnation. We’ve got 5 shows over the course of Summerworks Festival, all wheelchair accessible, all at the Franco Bonni Theatre

Saturday August 10th 2:30pm - 3:45pm

Sunday August 11th 4:30pm - 5:45pm

Friday August 16th 10:45pm - 12:00am

Saturday August 17th 6:30pm - 7:45pm

Sunday August 18th 9:30-10:45

CHECK IT OUT AND BUY THE TICKETS HERE

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Fiver near LaHave

Last minute show for my friends in the east coast with some very incredible talent ` Nick Dourado, Bianca Palmer and Jeremy Costello. All new tunes. All strange arrangements.

7pm. $10. The Ploughman’s lunch are hosting a tuesday night show - who knows what could happen. You can get there by going to : 4645 Route 331, B0R1C0 West Dublin, Nova Scotia

https://www.facebook.com/events/609128209519191/

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Circle of Steel

Last year I got asked to make some original music for a feature film called Circle of Steel. I read the script and thought I’d take a shot, wrangled the Highest Order together and we made an as of yet released recording called Show Me The Mark. I finally got to see the finished film at ReelWorldFilm Festival and I gotta recommend it. Directed and written by Gillian McKercher and produced by Kino Sum, the film’s a comedy about working in the oil and gas field in northern Alberta, it’s shot beautifully, it’s brutal, it’s funny and it’s well acted, and I can’t say enough about the soundtrack during the opening credits…

Anyway, I’m proud to have contributed to it.

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Qurterly

Wrote a song called Rage of Plastics and USGirls covered it on the smash hit record pictured below.

USGirls

I'll be playing Luminato with my dude, Cris Derksen on June 20.   It's a night called Ally and Kinship and quite happy to be performing on the same stage as Ansley Simpson as well.

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Audible Songs From Rockwood will be played at Folk On The Rocks this summer, along with Lonesome Ace String band.  The HIghest Order is going to be there as well.

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2018

There was this joke with my old band One Hundred Dollars, about the power that titles hold.  The joke was a way of laughing at the sour reality that as a band of 5, sometimes six, we would rarely ever be paid more than $100 a show.   Now here my name determines my number in a new way.

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Audible Songs From Rockwood in January

Audible Songs From Rockwood in January

photo by Jeff Bierk

 

I'll be doing 6 dates in January with banjo massive Chris Coole and aggressively talented John Showman on fiddle.   They played on the original recording of Audible Songs From Rockwood.  I grew up using my sister's friend'd ID to get into watch them rip with Crazy Strings at the Silver Dollar every wednesday night, in Toronto.  I dreamed I'd play with them one day, and some dreams come true. 

Read More

Hard to keep up

Had a really beautiful tour in early September with Saltwater Hank, aka Jeremy Pahl. Thankful to have been asked to play Koksilah Music Festival, on unceded Quw'utsen Territory.   Wound our way off the island and over to Calgary, through Victoria, Vancouver, Summerland, Vernon, Sicamous,  and then moved on and out.  I would say a picture is worth 1000 words, except that I try not to use my camera much, so I'm not that good with them.  Nonetheless...

I'll be at Folk Music Ontario this weekend, doin a private showcase in the Mavens' music room.

 

Archive of my last news

June 16
Audible Songs From Rockwood was longlisted for the Polaris Music Prize, which is rad. I hope that the jurors all get the liner notes, but is it corrupt to send them the liner notes? Is that considered bribery? I don't know. Here they are.

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Truly had a wonderful time in Dawson City. Thanks to the KIAC Print festival for bringing me out there.

May 31


Going to the Yukon soon.

Dawson City on Sunday June 11

Whitehorse on Monday June 12

 



May 7, 2017
Toronto Shows have been announced. Keeping it complicated....
Three shows at three places
Thursday May 25 @ Likely General 389 Roncesvalles Avenue

Wheelchair Accessible https://likelygeneral.com/pages/hello

$15 / Doors 7:30 pm / Show 8:00

Tickets at Rotate This


Friday May 26 @ St. Matthew's United Church
729 St. Clair W Wheelchair accessible

https://www.stmattsunited.com/contact

$15 / Doors 7: 30 / Show 8:00

Tickets at Rotate This or Click HERE to buy tickets online


Saturday My 27 @ The Array Music Space

155 Walnut Ave, M6J 3W3

Wheelchair Accessible

http://www.arraymusic.com/studio/

$15 / Doors 7:30 / Show 8:00
Tickets at Rotate This or Click HERE to buy tickets online



April 8, 2017

 


April 3, 2017


Well, gotta hang my head down and say thank you to The Undertaker for 27 years. Here's a tribute video that a few kids in New York City made for him - they used my song The Undertaker which explored the wrestler's lack of trust and its impact on his relationships.

A bit more about the release up there in the film...

Feb 16, 2017
Pleased to announce that I'm putting out a new record on April 21. Spent the past 3 years digging about in the archives of the Rockwood Asylum for the Criminally Insane, and came up with this:

Jeff Bierk took the Photo on the front.

Stay tuned for more information about it.

You can pre-order it at the Idée Fixe Records website HERE


November 29, 2016
Great poster from Artspace:

ah yes...



November 1, 2016

And so it is written:

 



as well on november 23 gonna open the release show for these freaks, Tasseomancy.


 

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August 27, 2016
Please see notice below regarding upcoming shows.



August 2, 2016
If you live in Toronto, it's worth going to see Land of Destiny, a documentary by Brett Story from 2010 that's showing at HotDocs cinema on August 15. I wrote an original tune for it and recorded it with Dave Clarke and Paul Mortimer at Rick White's. It's a powerful account of the effects of the Petrochemical industry on the people in Sarnia who are caught in the conflict of both making their living and dying from the work it brings.

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Later on I wrote this song about the parallel conflict, images from the film very much in my mind.


 


June 9, 2016
Just had a great tour with USGirls. Really great to tour those rooms with people I love and admire. Thanks Meg, you freak.
Tomorrow the record I made with my band, The Highest Order will be coming out on Idée Fixe Records. It's called Still Holding and it's mostly songs I wrote over the past 3 years, and recorded with my greatest friends. It looks like this:

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From Left to Right, Joni, Rhubarb, Roxy and me.
You can buy it HERE.
We're touring the west part of Canada so, if you wanna catch those shows check out the listings here at The Highest Order Website.
Also, check out this video in the Fader ...

 


March 30, 2016
April shows with Chad VanGaalen and the one and only Michael Hurley - check the DATES
But also May I invite you to join me in May as I run down the west coast with USGirls?

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Feb 18, 2016


If you are in Los Angeles, pick up a copy of Night Gallery's free newspaper Night Papers, for a piece I did with my collaborator and Top Photographer, Jeff Bierk



In the first week of february I had a good time at Megaphono. The hell mouth never looked so good. Nice review right here... So nice when people talk about the songs in music reviews.
 

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Photo by Owen Clayton
Gonna play Idee Fixe Records (that's french, but it's the name of the label that puts out The Highest Order ) Vth (5th) anniversary party twice - once solo on February 25th, at the Horseshoe, and then with The Highest Order on the 26th at the Garrison.
Ah yeah, and I'm playing Kazoo Fest come April, opening for Chad Van Gaalen in Guelph, so that's alright. I once got kicked out of that church, but that story is for a live audience.

December 7, 2015
On December 20th, I'm playing a fundraiser for Girls Rock Camp Toronto, with the holiday wish that they go gender neutral and all children can just grow up thinking they can play rock and roll if they so feel without the burden of gender one way or another.
HERE'S the event.

And also, should mention I am playing a show with Jennifer Castle on the 21st for the Winter Solstice.

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September 30, 2015
WORLD FAMOUS GOPHER HOLE MUSEUM SOUNDTRACK

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That's right, I composed and recorded the soundtrack to the short documentary "World Famous Gopher Hole Museum" by Chelsea McMullan and Doug Nayler about this curious tourist attraction in Alberta. It premiered at TIFF and was really good to see in the big theatre surround sound. I made this poster for it too.


September 22, 2015
WENT ON TV (INTERNET TV) FOR JC
I got asked to talk about a wonderful album by a friend on TV for the Polaris Prize. So I said what I thought:
In the opening song of Pink City, Jennifer Castle asks the question: "Can anybody hear me?"

Today's songwriter contends with so much opposition to the craft:

There's the disaffected ear of a dominant culture that's forgotten poetry.

There's the planned obsolescence of song, expected to stream forth, perpetually new.

There are still men relegating women's voices to ornament.

And there is the fear sown by government and industry, muffling those who warn against the hollowing of the land.


The songs on Pink City both address and transcend these hostile conditions. Jennifer Castle, with voice, guitar and piano, sings together truths of the body, poverty, our part in nature, labour of all kinds, the will. The album is sometimes unsettling, sometimes friendly, oblique in form, and still direct.


And so to the question "Can Anybody hear me?" the answer is "Yes." And more people will, right now.

I would call her singular but for the fact that she sings for so many.

Friends of all genders, your 2015 Polaris Music Prize short list nominee for Pink City, the undeniable Jennifer Castle.


You should get that record.




July 15, 2015

MADE A VIDEO FOR MY BAND "THE HIGHEST ORDER"

 


And I wrote the song too.




April 5, 2015


NEW VID FOR 'DAYTON' OFF "Lost the Plot"


 

I put on my face and showed up to play, meanwhile on Coronation Street trouble abounds. If you're the kind of guy who needs to watch TV to hear music, Jeff Bierk made this video for you:





April 2, 2015

'LONESOME IN THIS GRAVE' VIDEO NOMINATED FOR THE PRISM PRIZE

 





Starring Carl Lance Bonicci, and directed by Jeff Bierk.



January 25, 2015


A BOOK: SPEAKING FLOWER POEMS



Simone and collaborator Jeff Bierk have released a poetry book for gentle people aged 0-1000. You can order it here.