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Deupree also records for a number of other labels including Spekk (Japan), Ritornell/Mille Plateaux, Raster-Noton (Germany), Sub Rosa (Belgium), BineMusic (Germany), Fällt (Ireland), and Audio.NL (Netherlands). In addition, over the past 11 years he has worked with Instinct Records, Caipirinha Music, Plastic City (USA), Disko B (Germany), and Dum (Finland), among others. In January 1999, Deupree currated a compilation for New York’s Caipirinha Music label that he called “Microscopic Sound.” This release was among the first to gather together artists of this style and helped put a name to a rising genre of electronic music. Deupree has received much critical acclaim and recognition for his past musical projects including the techno and ambient sounds of Prototype 909, SETI, Human Mesh Dance, and Futique (1992-1996) and has many recording accomplishments and a substantial discography. His design work has appeared on dozens of record labels around the world and published in a number of design books in Japan and the UK.
For the past 6 years Deupree has focused his energy on 12k, solo productions under his own name, networking with a family of like-minded sound artists, and the furthering of his sound experiments that take influences from his passion for architecture, photography, and interior design.
If there were one central word that described most of my work it would be “minimalism.” Timeless ness, 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.
