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We are pleased to announce the "beat oriented" release by Taylor Deupree! The album comprises of his long time out of print singles and 2 unreleased materials, remastered and artwork newly designed by Deupree himself.

It's incredible to find the tracks sounding so fresh even after a decade and how addictive they are. Really wish to have the people who are more familiar with his recent ambient styles / minimal techno fans check out this masterpiece from the originator of "microscopic sounds".

Purchasers of this album from this website comes with 3 free ringtones (all using phrases from this album) exclusively prepared by Taylor Deupree.


>>"Focux" interview available HERE

Focux is a collection of recordings by Taylor Deupree originally released around 2001 as a series of limited edition 12"s on the now-defunct Dutch label Audio.NL including 2 unreleased materials from those times.

Over the last decade, Deupree, who founded the 12k label in 1997, has become one of the leading figures in modern electro-acoustic ambient music, but Focux comes from a time when he was balancing between two worlds: one of ambient music and one of minimalist techno.

Focux shows another side of Deupree's work that used to prevail throughout the early and mid 1990's where he took the basic 4/4 techno beat and stripped it down to its most basic of elements and then recombined it with microscopic scrapes and blips forming often off-kilter side beats that looped along at a variety of time signatures, playing off of the 4/4 bass drum creating ever-evolving combinations of loops and interactions.

While Focux seems so far removed from what Deupree has become most known for it doesn't take much to see the connections between this and his more recent output for his 12k imprint. There is a clear sense of space and a fascination for details crafted in minimalist shell. Loops and repetitions are as present as always and even one of his most important themes - imperfection - finds its way into the stark, club-inflected work that is Focux.

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Taylor Deupree biography:

Deupree is an accomplished sound artist whose recordings, rich with abstract atmospherics, have appeared on numerous record labels, and well as in site-specific installations at such institutions as the ICC (Tokyo, Japan) and the Yamaguchi Center for Arts and Media (Yamaguchi, Japan). He started out, in the 1990s, making new noises that edged outward toward the fringes of techno, and in time he found his own path to follow. His music today emphasizes a hybrid of natural sounds and technological mediation. It's marked by a deep attention to stillness, to an almost desperate near-silence. His passion for the studio as a recording instrument is paramount in his work, but there is no hint of digital idolatry. If anything, his music shows a marked attention to the aesthetics of error, to the short circuits not only in technological systems but in human perception.

And though there is an aura of insularity to Depuree's work, he is a prolific collaborator, having worked with the likes of Stephan Mathieu, Christopher Willits, Kenneth Kirschner, Eisi, Frank Bretschneider, Richard Chartier, Savvas Ysatis, and Tetsu Inoue.

Deupree dedicates as much time to other people's music as he does to his own. In 1997 he founded the record label 12k, which since then has released over 80 recordings by some of the most accomplished musicians and sound artists of our time, among them Alva Noto, Steve Roden, Ryuichi Sakamoto, and Steven Vitiello. Many share with Deupree an interest in stark minimalism, but the label has also found room for, located a common ground with, the acoustic avant-garage, the instrumental derivations of post-rock, and the synthetic extremes of techno.

And collectively, the cover jackets to the 12k album releases have served as an ongoing exhibit of Deupree's photography, its lofi aesthetic, with an emphasis on damage and wear and antiquated tech, closely paralleling his music. (His photos have also graced numerous books, design anthologies, and other recordings and projects.)

Deupree continues to evolve his sound with an ambition and drive that is masked by his music's inherent quietude. He approaches each project with an expectation of new directions, new processes, and new junctures.

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Taylor Deupree "Focux" interview  - interviewed by mondii (SPEKK)

1. This album is basically a re-issue of the 12inches you have released on Audio nl. 10 years ago. What made you think of re-issuing the album and name it "Focux"?

And how do you perceive the tracks yourself after listening to them 10 years after?

Yes, these tracks were released 10 years ago and some of them created as much as 13 years ago. It was label interest from Lantern that prompted the re-release and my own desire to see them get out to a larger audience. With such a long time between their original release and me really listening to it again i could finally enjoy them more as a detached listener than as an artist. So, hearing them again was a very fresh experience and i felt that they still sounded interesting and unique after all these years. It's so different from what i do now that it's not as stressful for me, it's more fun. The music is fun, quirky music, not as serious as what i've been doing for the past decade.

The name "Focux" comes from one of the original EPs and track titles and was basically a mis-type when i was originally naming the song "Focus." i typed "Focux" instead and liked the look of that and i'm also really interested in these types of imperfections and mistakes so it seemed perfect. Even to this day i keep mis-typing "focus."

> Audio.NL is...

Audio.NL was Dutch label founded by three members of Goem, and specialized in minimalist techno music and released the first 12" by Motor, but also work by Goem, Jos Smolders, Muslimgauze, *slo-fi, Auch, Radboud Mens, Komet, Taylor Deupree, Static, Rechord, Michaux, Tomas Jirku, Anders Ilar, Rannisto and Katsuya Urishizaki. All records were packed in orange sleeves and are these days hard to find. The label existed from 1998 to 2007.

2. I'm sure the people who only knows your recent 12K activities would be surprised to hear this rather techno based album. How did you get interested in Techno music in the first place? I assume that Techno music was not so popular in the states as it was in Europe around the end of the 90's.

my music writing came from experimental new wave in the late 80s to industrial and into techno in the early 90s… so it was really one of my strong roots. when i got into techno i also became interested in ambient music and by the mid 90's began to lose interest in techno because i no desire to be part of the "scene." i was more interested in pursuing my passions in visual art (photography, design) and mixing those with my music and those interests fed very naturally into the ambient music i was already creating. and, as my listeners probably know now, the "ambient" music has become a more electro/acoustic hybrid of computers and acoustic instruments.

techno was very big in america in the 90s. my early techno band, Prototype909 would play at massive raves almost every weekend for a few years. every state had it's own scene, and there were big ones in wisconsin, illinois, and here in new york as well as the west coast of america. we were known a very "east coast" techno band. so, yes, the music was very popular in america but even moreso in europe.

3. And what lead you to make music so-called "microscopic sounds"? It is very curious to know as you have curated a compilation album entitled "microscopic sounds" for NY's Caipirinha Music in 1999. Do you think there's some kind of a reason where artists of this style appeared simultaneously from all over the world?

Back in 1999 i had met the guys from raster-noton for the first time… carsten, frank and olaf. we became friends and it was at that point that i first discovered that there were other artists doing what i was doing. for me it was my time trying to get rid of my techno music and enter something more experimental, so the music had a hybrid of post-techno rhythms and more experimental sounds. it was also around the beginning of my great interest in minimalism so all of these things came together and i thought it would be an interesting idea to get people i knew and to collect this similar type of music. no one had done it before then, it even came out before mille plateaux's "clicks and cuts" which had much better distribution and promotion.

i think the reason this kind of music all of the sudden was possible because of artists looking beyond techno and also armed with a new technology that allowed precise, and easy, editing of digital audio. we may take it for granted now, but just 12 years ago this sound technology we have now was just emerging. we could take a sound and edit down to these "microscopic" levels with great ease and really piece together complex digital music very precisely. i think these two factors lead to the creation of this type of music.

4. From your more beat oriented materials to the recent ambient releases, they indeed sound different although we can hear a consistence, which most likely comes from your main theme "imperfection". What is your idea of "imperfection"?

it comes from two places, mostly… i think. one, i believe nothing in this world should be considered "perfect." and two, i often feel that it is something's flaws that make it most beautiful. be it a limitation, a scar, and irregularity. i think it is too easy in a technological world to make things appear perfect. also, with computer graphics we are losing the imperfections of nature. i find great beauty and complexity in such "human" things.

5. Are you attempting to release more of these rather beat oriented materials in the near future? Some of us also know about your Ando project (which was released on Bine Music in 2008) which sounds very close to the music on "Focux". Should we be expecting your music under the alias Ando?

it is very hard for me to write this kind of music on a regular basis as it is just not where i am right now artistically. for me these are more fun side projects but not really the focus of my art. because it is so different, however, it is a good escape sometimes from my more serious work. right now i have no immediate plans for more work like this but i know it will happen again at some point.

6. I heard you are coming to Japan in October 2011. Could you please tell us the details so that we could promote it on this website?

yes! i am very excited always to make my annual trip to Japan, to play music, see my friends and eat a lot of food. This year i will be playing at the Fukugonji Fes. in Hamamatsu on the 15th and 16th of October and also in Tokyo in a release party for a new 12k CD from a japanese do called Illuha. i am so much looking forward to this trip. maybe i will find my hat that i lost across the street from Tokyou Hands in Shibuya last year :)

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