Todd: Stellar Vector has been around for awhile. Could you tell me a little bit about the band’s history?
Charles Sadler: Stellar Vector was birthed from my solo project [space bar]. I was going through a sort of musical soul searching, where I had an idea for a particular musical style but wasn’t sure how to execute the process. I wrote a couple of really neat songs, but I didn’t sense that my passion was getting across in my solo efforts, so I asked Jamie Smith if he wanted to play guitar over some of the music. As Jamie started playing out his ideas, I had decided that Jonathan should program beats for the project (even six years ago Jonathan was the best beat programmer in town). Jonathan didn’t want to program drums though and so he started writing guitar parts as well, and then Don Carlson found me as I was putting this project together and asked me if he could play drums in something I was involved with.
We recorded a 3 song demo with Ev Olcott (formerly of 12 rods), who at the time was the guy I went to when I needed engineering work done. When I worked with him he had miraculous balance over when to take control and when to give control, I don’t imagine that’s changed at all. Around that same time I started to get into a fight with a band from Florida over the name Space Bar, I had no problems changing my name to Stellar Vector, especially after hearing the Florida rival’s music. So we became Stellar Vector, submitted a song into TC Electropunk Volume II, and kind of tried to develop some more songs based on some improvements I wanted to make after coming out of the studio with the demo.
Life started to get really difficult for Jamie Smith and so I asked Geoffrey Makousky to fill-in for Jamie while he tried to sort his life out. It quickly became apparent that Geoffrey was needed in a more permanent fashion and when Jamie came back Geoffrey took the position of bass player. We started working on tunes, but it quickly became apparent that the band was putting a lot of strain on Jamie’s life; so as his friend I let him go. At that time I had appointed Jonathan as producer of the band and me and him set out to find Daniel Auger.
You’re Not Included was recorded with Ev, 7 songs cut to 5. We decided we should always walk in with more and scale back. It’s even a principal rule in our writing style; start with a lot and cut back the fat. It was a grueling process, and a lot of things were happening internally with the band: My musical influences were shifting, Geoffrey’s main project – OBCT was really starting to flourish artistically, and Don was having tribulations. After the creation of the EP, I decided that it was best for all of us that I let Geoffrey and Don go and we try to find a new rhythm section.
We did find a new rhythm section and then I tried to create a genuine business model with them – the “right” business model. The line-up consisted of Mark Haider, Andy McClure, Daniel Auger, Jonathan and myself and – although there is a lot we don’t agree on – I think we would all agree that the business model is what crashed the line-up. After about a year of trying to make a go of it, I pulled the plug.
Jonathan didn’t want me to give it up; he was having fun on guitar and being the producer. So, Jonathan and I created a business model that applied support in all the areas where the previous model lacked and asked band Tasha’s Laughter if they wanted to write an album with us. They did, we did, and that brings us to today.
“February 14th” by: Stellar Vector
posted April 23rd, 2010 at 12:34 pm
Interviews, MN Rock