Death In Plains was a fictional character, notwithstanding its presence being undeniably real. Dates of appearance, end, and beginning remain unclear, as well as blurry remain the reasons of its existence. Did it even really exist? First appearances: 2008-2011. Death in Plains was deliberately anti-work, anti-rational, anti-gender, anti-world, anti-establishment, anti-normal, anti-spectacle. I know this for certain since, sometimes, Death in Plains was me. And some part-time me was DIP. Your teenage voice becoming baritonal. Weirdly enough, baritonal is the anagram of antilabor. In taking DIP into consideration, either what’s not been spoken is important as what has been. Art is about faith. Death in Plains was never about music. Weirdly enough, it emerged from some kind of music scene, as music itself. One night, we have been speaking long about this precisely: I cannot define, I cannot describe, I cannot remember. Big big % VS little little %. One could say the inaudible had a major part over the audible. Weirdly enough, silence cancelled all the music. Finally, DIP was not even “something” about music. It is “anything” about the the subterranean, the submerged, the greater sturdy sank root of the newborn sprout. It is the longest absence of vibration preceding the momentum creating vibration. It operates through music in order to channel silence. You won’t fine me here. You won’t find here anything but “old stones that cannot be deciphered.” If we remove (human-sized) time/space causality, aren’t both the long unspoken silence and the trauma that has been, reverberations of each other? Also, let’s not speak clearly about DIP. It could have been maybe all about the wonders of self-suggestion.