12k

TAYLOR DEUPREE

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Taylor Deupree (b. 1971) is a sound artist, graphic designer, and photographer residing in New York. In 1997, he founded 12k, a record label that focuses on minimalism and contemporary hybrids of acoustic and electronic music. In 12k’s 12 years of existence Deupree has released over 70 CDs by a roster of international sound artists and has developed 12k into one of the most respected experimental music labels in the world. Rooted in minimalism 12k's sound has evolved over the years to incorporate the hyper-synthetic elements of minimal techno to acoustic avant garde and instrumental post-rock. In September 2000, Deupree and sound artist Richard Chartier formed LINE, a sublabel of 12k that curates its continuing documentation of compositional and installation work by composers exploring the aesthetics of contemporary and digital minimalism

Since 1993 Deupree has created critically acclaimed recordings for labels worldwide including Spekk, Plop, Noble (Japan), Ritornell/Mille Plateaux, Raster-Noton, Disko B (Germany), Sub Rosa (Belgium), Fällt (Ireland), Audio.NL (Netherlands), Room40 (Australia), Instinct Records, Caipirinha Music, Plastic City (USA), Dum (Finland), and of course 12k and LINE, among others. In January 1999, Deupree currated a compilation for New York’s Caipirinha Music label that he titled “Microscopic Sound.” This release was among the first to gather together artists of this style and helped put a name to a then-rising genre of electronic music.

His solo works in recent years have explored a fusion of digital sound manipulation with organic and melodic textures that take influences from his interest in architecture, interior design, and photography. Themes of minimalism, stillness, atmosphere, nature, and imperfection prevade throughout his work . An intense passion for recording and studio technology creates a strong technological backdrop for all of his compositions.

Collaboration with other musicians is also a very important aspect of Deupree’s work. It is a way to not only create unique works beyond his solo recordings but to also expand his own techniques and processes as a learning experience. Over the years he has collaborated with a wide variety of artists such as Christopher Willits (US, guitar), Kenneth Kirschner (US, Piano), Eisi (Japan, 3-piece acoustic ambient-rock band), Tetsu Inoue (US, sound artist), Frank Bretschneider (Germany, sound artist), and Richard Chartier (US, sound artist), and Stephan Mathieu (Germany). Deupree feels the importance of collaborative work is to not layer two individual styles but to create a 3rd, fusion sound that incorporates the strengths of each collaborator yet sounds like a unique, 3rd identity.

Deupree continues to evolve his sound and approaches each project with a new direction and different process. Continued shifting and sound exploration is vital to his work. He has many recording and remixing accomplishments and a substantial, varied, discography formed over 14 years. His design and photography work has appeared on dozens of projects and record labels around the world and published in a number of books in Japan and the UK.

ARTIST STATEMENT:

Over the past decade I have watched my work in digital sound, graphic design, and photography continue to merge and overlap. Each of these mediums inspires the other and in turn are all inspired by other outside influences: architecture, modern furniture, interior design, sculpture and nature. I tend to absorb more musical inspiration from non-musical mediums, challening myself by asking questions like “how can I apply the lines and spaces of an Ando building to my sound design.” Or “what is it that I find so intruiging about this Judd piece as it relates to this cd cover.” Likewise, when I conceive of a musical project there is inevitably the design and photography of the package to consider and how to best make them all relate to the project’s concept.

If there were one central word that described most of my work it would be “minimalism.” Timelessness, nature, understatement, and simplicty of form are key to my aesthetic. I believe that the single sound, color, or line, free from filler or dramatic intention delivers the strongest emotion, and this simple vision runs through everything I do. Most of my work leans towards the formalist, trying to leave messages or feelings to the viewer of the work. However, my art is heavily inspired by my every day life and most projects stem from a particular event or memory from my life. To me they hold a lot of emotional value but on the surface the form remains dominate. My work is a bit of an ongoing diary.

These ideas of minimalism in composition also extend to the elements of my work. Small spaces, tiny sounds, narrow frequencies, thin lines, and the ideas of “micro” pervade. I work in the digital world and the technology available for microscopic editing is very important to what I do.

My projects are typically born from single words, memories or events, which then turn into a direction for a project and then a complete concept that can change my entire way of working for years following. I like to approach each project using different processes, mixing what I already know with yet-unexplored methods of working, thus using each body of work as a means to explore new ways of working. The process I find equally as interesting and rewarding as the result.

Lastly, I think it is important to note that I rarely consider my work complete. Deadlines, contracts, and schedules often force the “end” of a project while the nearly limitless tools available for digital sound and image processing often result in work that could be ever-evolving. Rather, each composition, design, or photograph I create exists merely as a snapshot of that particular time in my life, my processes, tools, and mindset. I begin the work, then end it, and then continue on with new ideas.