1) What would you like listeners to know about your work on Campsites?
A: All of my recent work has started with the act of going somewhere and listening for the localness of the soundscape. If I can feel the unique presence of where I am standing then I’m likely to make a recording of it. I’m discovering that within these highly local places is the deep feeling of something eternal – a music that hangs in the wind. Often it’s enough to present a location recording as it happened and be happy that it conveys this sense of the local and the cosmic. Other recordings invite me to enhance what I’m hearing with a sonic treatment that brings forward the cosmic element. I, like those before me, hear this cosmic depth in the presence of the drone. My current technique for invoking the drone is by generating sustained resonance through the various pitch, tempo and presence evident in the location recording. The world around us is so enlivened by these elements that it can be overwhelming at times to sort through the moment. I find that this drone technique removes some detail and adds the depth required to suggest the eternal yet impermanent nature of a place and our lives within it. Yes, wabi sabi sentiment in art and my melancholy disposition generally inform this body of work. I’m happy to have arrived and hang out.
2) Describe any place in the world you have visited that really impacted your work.
A: I can best answer this by what I’m working on today. A trip to Kenya in 1983 was a real ear opener for me. Spent a couple days on the banks of Lake Baringo in the Rift Valley area. At the camp was an old single-cylinder generator engine that ran in the evening. What a wonderful slow tempo it turned at as it was surrounded by a huge night ambience that only Africa could provide. Now, so many years later, I’m returning to this recording with hopes of making a beautiful piece from it.
3) What does a perfect day look like to you?
A: I’m cool with sitting in the shade of a big old ponderosa tree with a double espresso and some sativa.
Doug Haire is a resident of the Pacific NW with 30 years as a recording engineer and producer. He has some 400 album projects to his credit, plus eight releases of his own, including 1 million demos, consultations and nice tries.
He founded KEXP’s Sonarchy radio show in Seattle where, for 22 years, he produced hourlong live broadcasts providing avant-garde musicians a space to perform, experiment, suss out ideas or create chaos.
And then there is his work in the world of sound art, composition and video-for-sound.