Category: Music

  • Wood, Winter, Hollow

    Wood, Winter, Hollow

    The cold had a certain warmth to it. Worlds, life, among the layers of ice. Complex sounds, alive, found in the darkest rocks, wet with winter’s water. These hollows, rough with age, nature’s hideouts, were the source of inspiration and sounds for the first full-length collaborative effort from Seaworthy (Cameron Webb) and Taylor Deupree.

    Webb was plucked from a bushfire and flood-ridden east coast of an Australian summer and deposited via a 20h flight into a New York covered in snow. From wetlands abuzz with wildlife in the Australia to winter’s wooded trails through Pound Ridge, the sonic environments couldn’t have been more different.

    Working together in person has been an important point in Deupree’s collaboratinos lately. Much preferring the human interaction and local landscapes over the soulless exchange of sound files over the internet. With this point taken care of the pair struck out in a New York February to a 4,000 acre nature preserve near Deupree’s studio called Ward Pound Ridge, a park rich in history that supports a diverse range of plant and animal life. While the cold of winter kept most of the animals quiet the landscape nonetheless teemed with sounds. The local environment was hit badly by Hurricane Sandy a few months prior and the remnants of broken trees and debris littered much of the woodland area. Deupree and Webb spent three days on the trails recording sounds and images which created direction and purpose for their album which was composed in the evenings in the 12k studio.

    The resulting Wood, Winter, Hollow traces a rustic path of the days in the woods with an equally natural soundset fronted by Webb on a nylon string guitar. Bells, sticks, melodica and the occasional analog synthesizer form the sonic backdrop echoing the quiet, but lively sounds of the winter forest. Endemic field recordings, including hydrophones placed in near-frozen streams, became an integral part of the work creating a subtle narrative that places the album in its specific place in time.

    The subtle crackle of a slow flowing creek working its way through a cover of ice and frozen leaves. The faint whistle of the pale leaves of the beech tree that defy mother nature by clinging to their tree’s spindling branches against the push of winter winds. The cacophony of whispered raindrops running off infrastructure and hundred year old stone structures. These are the sounds that inspire and infuseWood, Winter, Hollow. The rawness of winter in a world clinging to fragments of warmth.

  • Reflections On An Inland Sea

    Reflections On An Inland Sea

    “Reflections On An Inland Sea” is the 2nd of two compositions by Taylor Deupree for David Sylvian’s abandon/hope photography installation. The first piece, “Too Close To Being Far Away From Everything,” was released on a playbutton MP3 player as part of the Setouchi Triennale 2013 art exhibition in Uno, Japan. Visitors of the exhibition could rent the playbutton and explore the city and the art while listening to Deupree’s music.

    “Reflections On An Inland Sea” accompanies the two-book hard cover, boxed-set show catalog for Sylvian’s abandon/hope exhibition which concluded in the Spiral Garden building in Aoyama, Tokyo.


    The title for this piece is inspired by the geography and history of Uno, Japan where abandon/hope first began to be shown. There are ghosts in the music which listen in on the fragile and dusty sound whose slow, melancholic loop stretches like the sundipped horizon across the water. But as the music continues across it’s 17+ minute arc the sounds brighten, freshen, and a glimmer of hope is instilled as the sun drops quietly into the sea.

  • Too Close To Being Far…

    Too Close To Being Far…

    Too Close To Being Far Away From Everything.

    “Too Close To Being Far Away From Everything” was composed as a sound installation/soundtrack to David Sylvian’s abandon/hope photography exhibition as part of the Setouchi Triennale 2013 in Uno, Japan.

    The sound installation is devided into two sections – a composition by Taylor Deupree, titled Too Close To Being Far Away From Everything, which can be listened to on a playbutton (fully customizable mp3 player in a wearable button) and the reading of various quotations by several famous philosophers which can be heard from the speakers of the audio automobile kiosk.  The playbutton was distributed to the audience from the kiosk and features the photograph “Paradise” by Nobuyoshi Araki as the cover-art for the button.

    “Too Close To Being Far Away From Everything” is music both without time and existing at multiple points in time.  It is about ghosts and futures and the quiet overpowering of nature over man.

  • Origin

    Origin

    In the distance, they thought they heard a noise. This sound, that lay upon the hum, that those who lived here incessantly heard, crept into their consciousness as their breath slowed. The search was drawing on, time was becoming physical.

    The landscape was brown, a reddish brown, dusty and warm, and the smoke that was always somewhere off in the distance was still not far enough away. The noises of everyday always seemed like layers of different lives sounded off by the people. Each voice a mystery, yet vital to the whole, but most knew nothing of the lineage. Sometimes the voices called louder when the sun was high, making them long for the cool earth beneath the soil.

    Memory forgets small details, it fades into now, and you can see that in their eyes. Each step to get here was felt; the earth under foot, and each breath taken was part of the price to pay.

    Tomorrow will bring another experience, another mystery. But even the tiniest of ideas will set them out again; a hum, a crackle, a reflection. This is where it will continue as they search for the origin.

    Origin is the latest album from long-time collaborators Savvas Ysatis and Taylor Deupree. Released as a 12” LP Origin sounds quite unlike anything they’ve done in the past after nearly 20 years of releases together. Cryptic, noisy and warm, Origin searches for details in the layers.

  • Between

    Between

    Between:
    Taylor Deupree
    Simon Scott
    Marcus Fischer
    Corey Fuller
    Tomoyoshi Date

    The electric glow of the street lights fade into the blue evening fog. The broken path narrows and gradually leads away from the wires that hang precariously and endlessly above our heads.

    A solitary tree stands detached in a quiet urban environment. Between the branches the cold night air teases small sounds out into the wet air; a whispering voice, bark creaking as the tree responds, unknowingly, to conditions of the landscape. Its leaves litter the cobblestones as the warm transient display of autumn passes. A voice calls, echoing among the low buildings. Several miles away, where nature hushes the city, a small river runs where the shallow water is pure and clean. A dark shape passes close by, its large wings disappearing into the darkness ahead. It heads in, back towards the blue glow. I love this place.

    A small group sleeps on marble steps ahead, full of life but still. In goes one coin and then another, until I make my choice as the journey is completed. Bicycle baskets full of paper, spine and tentacle, their small sounds clicking, tapping, scraping. The floorboards are creaking. Small details shared. Between.