We had the pleasure of asking Folk Fusion Multi-Instrumentalist Matt DeBlass a few questions, and this is what he had to say…

1) How do you define “Steampunk?
How do I define “Steampunk?”
That’s an interesting question, and one that will probably give purists a headache for years to come (and let the rest of us have a lot of fun). One of my favorite aspects of the Steampunk aesthetic is that it covers such a broad range of ideas and, indeed, time periods.
My own take on Steampunk, and this might be a minority view, is that it’s not so much “Science Fiction set in the late 1800s” as “the 21st Century viewed through Victorian eyes.”
Not only does it circumvent the “period/not-period” arguments and make it perfectly OK to incorporate a smartphone sheathed in wood and leather into your garb, but it means that Steampunk is NOW, a world we can to some degree make a reality. In fact, when you think about it, the modern world is run on electricity, most of which comes from coal, gas or nuclear-fired generators, which work by super-heating water to spin the turbines.
Our world, right now, perhaps more than the world of 1890, runs on STEAM!
2) What do you expect from the theme “Year of the Dragon?”
The Year of the Dragon?
Well that conjures up a lot of interesting possibilities and visions. Obviously there should be a strong multicultural element associated with a Steampunk event drawing on Chinese symbolism.
The relations between China and Britain, and China and the United States were going through a lot of changes during the Victorian Era, with wars being fought over trade (notably the Opium Wars) on one hand, and a growing population of Chinese immigrants starting to influence the American West on the other. This follows with the modern day where America and China are at once a world apart and increasingly intertwined in ways that a mere armchair historian like myself can’t even begin to comprehend.
But the serious thoughts aside, I’m hoping the blending of genres and cultures is going to result in some amazing costumes!
3) How do you find your style of music mixes in with the Steampunk aesthetic?
How does my music fit in with the Steampunk Aesthetic?
Well, first off, let me once again point out how happy I am that nobody has come up and defined exactly what “Steampunk Music” is. I think if we’re looking at a whole alternate reality, there’s room for as many different styles of music as there are in the real world.
As for my own folk-oriented mish-mash, I think there’s a certain willingness to blend time periods and genres that fits right in with the Steampunk vibe. If left unsupervised I’ll end up wandering through Irish fiddle tunes, Jimmy Buffett covers and Bach minuets without too much discrimination. In fact, I like to find common ground between some of the different genres, such as folk and Baroque music, that may have been there all along (many classical composers drew from traditional and popular music) but might not be obvious to the casual listener.
Also my instruments fit pretty well, I think. The mandolin was an extremely popular instrument around 1900, before giving in to the ubiquity of the guitar, and is experiencing a minor revival in popular music. And the harp, well, it’s a harp, they’re always cool.

Not to mention, in keeping with the Maker ethos that is one of my favorite things about Steampunk, I’ve built or modified most of what I play somehow. My main stage instrument, my blonde mandolin, was built and heavily modded from a kit, and I often bring some oddball cigar-box creations along as well.
4) Do you find yourself listening to more Steampunk music lately? If so/not what are you listening to?
Do I listen to “Steampunk Music?” Ah, that goes back to the whole “what is Steampunk Music” question. If you mean “bands that frequently perform at Steampunk-specific events,” there are a few in my collection, but they’re not the majority. If, on the other hand, you mean “bands that cross genres and blend instrumentation in exciting and interesting ways” then I’ve got a ton of fun stuff.
One of recent favorite albums that fits in the latter category is “The Goat Rodeo Sessions” featuring Chris Thile, Edgar Mayer, Stuart Duncan and Yo-Yo Ma. These guys come from Bluegrass, Jazz, Classical and Folk backgrounds and get together and do something that completely defies being pigeonholed. It’s complex as any formal classical music, but it’s fresh sounding and a lot of fun to listen to in a way that gets lost too easily in some of the more institutionalized music. Maybe that’s what a classical quartet from an alternate timestream would really sound like.
5) Tell me one thing we should know about Matt DeBlass that we don’t already?
Something you should know about Matt DeBlass that you don’t already?
This is, of course, the hardest question for me to answer. I think I’m a pretty boring guy, offstage. When not duded out in my tweed and bowtie, I’m usually in cargo shorts and sandals (I’ve got big hobbit feet and hate to wear shoes, is that an Official Fun Fact?) and tinkering with something, sometimes even successfully.
Like I said, I’m pretty quiet, I’m a single dad (with an 11-year old daughter who quotes Doctor Who at me) and go for some of the more contemplative hobbies, like hiking, trail running, bicycling and I’ve recently gotten into Tenkara, which is a Japanese style of minimalist fly fishing.