![]() ![]() I think of that as my work, and this is work that somebody has been bothering to do for thousands and thousands of years. But I compose poems and I recite them, and I make music to recite them to. The music, it’s easy to think it’s going to keep going because the influences scatter seeds and it starts again elsewhere.īut when you’re talking about the people who make up the scenes, you know, I’ve seen most of the scenes I’ve been a part of - that in retrospect it turned out I was part of - they definitely no longer exist. The specific scenes that I’ve been a part of I’ve seen actually disappear, some of them. I’m participating in…I’m a link in a larger chain. It’s like a broader scene through the ages. I would say, in my case, the scene I feel I’m participating in now, is not specific and it’s not even entirely present. Do you think the “scene” is over? In terms of being part of a connected group? And the age we’re living in now seems particularly abandoned in terms of scenes. You’ve seen the “latest thing” become the “forgotten thing.” You’ve seen a lot of scenes come and go. You’ve traveled through a lot of musical ages. This is going to be the “tiny interview.” Everyone’s interviewed you about everything. ‘Anything other than the present moment is a form of slavery.’ from The Fools Sermon, Lamps of Friendom Press, 2016 No, this was a “tiny” interview, a chance to spend a few fleeting moments early on the cool morning of Daniel’s departure from Anacortes (he was heading deeper into the surrounding islands, deeper into the word).Īs our little town awoke to its island business, gulls overhead riding a rising breeze calling down, Daniel shared some porch thoughts about the passage of time, the fleeting nature of music scenes, and the importance of the word, the seed, and the spark along his creative, crooked path.īecause, as a fellow passenger once said to me: We set aside all notions of Lungfish - many have come and gone before The Palace, deftly and expertly documenting that part of Daniel’s story. Then, the following morning, I met with Daniel to briefly explore some thoughts as well. The music is an exploration of sensations. An appearance of Fountainsun gives life to both. “O for a life of Sensations rather than of Thoughts,” wrote John Keats. Convivial talk softened into Daniel’s poetry and Fumie’s guitar and flute. If it’s happening at all, it’s happening in places like The Business, on small islands, literally and figuratively, while the greed and the sociopathy burn themselves out all around us.įor little over an hour, time was suspended between the ripening sheaves of another late summer, and the garden gate of right relationship. ![]() Think about it, what it takes for recording artists to make their livings in this smoldering wreckage that is America 2019. The band appeared for one brief, early show at The Business, the record shop in Anacortes that forms the hub for many of us fellow travelers, wanders, and dreamers. Along with his partner, Fumie Ishii, Daniel performs in these shadow days as Fountainsun. ![]() Such is the collection of memory, poetry, and deep feeling that make up the eclectic work of the poet, recording artist, language archeologist, avant-guard performance preacher, and self-styled tattoo artist Daniel Higgs. O for a muse of divine transforming flame. ![]()
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