by Andrew Duke
Brooklyn's Taylor Deupree has an extensive music-related history. Prototype 909, SETI, Human Mesh Dance, and Futique are just some of the projects in which Deupree has had a hand; labels including but not limited to Plastic City, Rancho Relaxo, Disko B, and Dum have all released Deupree-related material. Not only a musician, he is also a graphic and type designer for Caipirinha and Instinct. While he has recorded with many other artists in the past, the last two years have seen him focus his energy more on solo work and his 12k imprint. As the year 2000 rears its ugly head, many labels are intent on wringing out more sales, covering more territories, and fighting to reach the top of the heap in today's electronic music market. Deupree, however, has taken a different, refreshing approach. 12k is concerned more with pushing musical boundaries than racking up big sales numbers; using technology to make communication and the music itself more individual and unique, rather than exploiting it for greater monetary return. Where some labels start up offices in new countries in order to capitalize on untapped wallets, Deupree sells 12k releases--from an international roster of artists based in Japan, Germany, Greece, and the United States--mostly through mail order. Deupree is well aware of the possibilities technology and its resultant new distribution options offer, but he is more interested in dealing with like-minded people-both musicians and consumers-when it comes to 12k. For him, it's about building better relationships, not increasing distribution and aiming to reach the masses.
You've worked with many labels in the past. What prompted you to start 12k?
You made a conscious decision to release all CDs on 12k strictly in small quantities. Why?
Because of the limited number of copies of each release, do you find you have a more personal relationship with the people buying 12k material?