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I connected with Sanderson Dear back in March 2012. Since then we’ve shared many words about being creative in the 21st century, and an appreciation of di- verse music. Stasis Recordings is the ve- hicle summary of that music and cre- ativity and we’ve invited Sanderson to fully explain, himself and the mission at hand.

The Sci-Fi DNA runs deep…

The name stasis comes from me shortening “stasis pod”. I was watching an episode of the Twilight Zone when the name struck me as interesting.

Once I read thedefinition of “stasis” I knew it described what I wanted to achieve with my music: a sense of balance. Since SR001 I’ve been cultivating a particular vibe and style to what we do, a mood and atmosphere… and it very much comes across in all the releases thus far; a healthy balance between sound system/dj friendly songs and ones a person could easily play at home on their stereo or listen to under a set of headphones.

A recent release/ project of yours was the Pulsar EP/ Pulsar Remixes project. Your love of science fiction is obvious. Your music here captures the marooned, alone, and ultimately hopeful quality that I had always loved about Detroit Techno.

I’ve had a love of science-fiction since I was a pre-teen (reading Ray Bradbury novels when I was 12) and it’s an ongoing theme which finds its way into my songs. “Kaleidoscope” by Ray Bradbury was the partial inspiration for my “An Astronaut’s Epilogue” tune, I wanted to translate what I thought was a very emotive and introspective story from words and visuals into sound and song. I decided to do remixes for Pulsar because it’s the only ‘beat friendly” tune of the group and a linear one at that. The remixes are exactly what I was hoping for and they speak to what the label is about and what I want people to know we’re about. There are 5 vastly different versions but they all use enough elements from the original to keep the release cohesive. Sascha and David proved the strong tech-house dancefloor vibe, Ocralab anchors the ambient beatless realm, Arjen brings a very chilled funky tech-house in arrangement, and OICHO quickens the pace and takes the tune into new territory.

 

When did you start playing and producing your own music?

I was a dj, and did some production work in bands my friends had but didn’t really think about doing anything hands-on myself until 2002. A friend pushed me into it and I was immediately enthralled. I suddenly opened a door that just ‘felt right’. The dj’ing thing was fine, but suddenly, sitting in front of music gear and trying to write a song was satisfying a creative need.

…and how about some of your influences? I can say much of the music you’ve shared with me exhibits an overall appreciation of all things musical spanning the breadth of cultures and genres

The influences run far and wide. I grew up listening to a heavy dose of new wave, rock/metal, industrial, dub and ambient music, the dub coming courtesy of the On-U Sound guys and Adrian Sherwood so all the combinations of genres play out in my music.

 

Technology and entrepreneurship in the 21st century- How’s it treating you so far?

 

sandersondearTechnology and the internet have been a real mixed bag or catch-22. I’ve gotten into more than a few discussions over the merits of that kind of access vs. disadvantages. On one hand it’s been great because now everyone can be a musi- cian or start a record label and you don’t need to break the bank to do so. Those with talent have ample opportunity to give it a go. On the other hand there’s just so much out there now, lots of crap, with good intentions but still crap. You really have to be passionate and determined to find something you like. It’s been frustrating because a label like Stasis Recordings isn’t easily pigeon-holed and as such isn’t as visible as my contemporaries, and with the abundance of labels, releases, and artists out there carving out a niche and sound is one thing, finding those who’d sup- port it is an entirely different task.

You’ve been able to bring many different artists together from different countries while maintaining an identifiable sound.

I really do count myself fortunate to know and be associated with the producers I am in contact with. The key ones in my inner circle really help the label cover some of the musical ground I don’t. When I started the label I had no intention on having others onboard at all it was strictly just for myself but I soon realized there are a few musicians out there who actually share a similar attitude to me in terms of writing music, wanting to translate the emotive content they got from one art form and graft it to another, or find a place where they feel at home.

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