Running a label, my experience working with Rich and the Minus guys has been an interesting and inspiring.
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Some of the first techno records I owned were on Plus 8 and to be a part of that as a Canadian was a milestone in my career. I always had a ton of respect for Rich, John and the artists involved with the label. Working with Plus 8 was like a childhood dream of mine coming true. I personally wanted to write a collection of tracks that broke some new ground for myself, shying away from the ultra-minimal and trying to write some more soulful techno.Īnd what was your experience finally releasing a record with Plus 8/Minus? It just made sense to compile things and work on a new album for 2008 but I didn’t know where or how it would exactly end up when I started working on it. A lot of things personally were happening that inspired a lot of the tracks. I just set up a new studio and a lot of ideas started to flow. The Memory Tree seed was planted when I was arriving in Berlin. What sparked the creation of Memory Tree? Maybe the Canadian majors can try the same thing with some good-looking kid from Winnipeg or Yellowknife. And I guess the majors could take electronic music a little more seriously and sign something that doesn’t sound like it belongs in every other Molson Canadian commercial. I mean, I guess editors at magazines like yours could give myself or other artists a cover once in a while. There aren’t any other outlets to support techno in Canada that aren’t already being exploited. Plus 8 and Minus are technically Canadian labels, for example. Techno has always been a relatively underground thing in Canada but recognized worldwide as a quality breeding ground for some great labels and acts. The industry in Canada can’t realistically support techno more than it already is. In what way could the music industry in Canada show more support for techno? It holds elements of many electronic styles - Detroit techno, ambient and house - bringing them all together in this warm place where a genre is merely a noun, and music never ceased to be real.
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Memory Tree is airy, luminescent, deep and rhythmic. “Dr X” brings in sounds cavernous and upbeat that would mix into any deep house set in a club that pays homage to the classics. The third track, “Wolf Module,” continues down the urban road, creating a musical backdrop for a factory filled with underground mechanics and gears. The album carries on into cleaner and more defined sounds that resemble brilliantly shined metal. Shannon makes his entrance unassumingly with the low crackling audio of “Beyond Incubation,” reminding us of the mood warm vinyl can set. This record should have a place in your collection for nights to relax by the figurative fireplace. That is, if you’re scouring the hills for roots techno that’s soft, mellow and glitchy. The mood has been set for this, Mike Shannon’s third full-length artist album, Memory Tree. Throw this in your car stereo for a late night drive down a long road in the brush.