Max HeyraudDJ Shufflemaster reflects on the rise of Japan’s techno scene, his formative years on Tresor, and a career that spans decades of reinvention, silence, and return.
Tatsuya Kanamori, better known under the legendary guise of DJ Shufflemaster, is quite frankly one of the most important techno artists in the genre’s fabled history. Arriving on the circuit with a string of revered releases in the mid-90s, the young Japanese artist would go on to release some of the most decorated records in techno. While Shufflemaster remains his principal moniker, Kanamori has also released music as Dust Inc., Healtz, Shinjuku Mad, and under his own name.
Shufflemaster arrived at a time when Japanese techno was in full swing. His first record, if Discogs is to be trusted, landed just a year after Jeff Mills’ infamous Live at the Liquid Room set, while artists such as Fumiya Tanaka and Ken Ishii were already scripting the blueprint for Japan’s emerging techno sound. Shufflemaster would soon become part of that story himself, later featuring on Mills’ Live at the Liquid Room 2000 mix. Kanamori has described techno’s boom in Japan as a cultural phenomenon that followed in the wake of the country’s punk movement.
His legacy would quickly move far beyond Japan. Through a series of releases on Tresor, Shufflemaster became almost synonymous with the legendary Berlin label and club, helping define an era of hard-edged, futuristic techno. He would also go on to remix artists including Adam Beyer’s “Code Red”, Thomas Schumacher, DJ Rush, DJ Deeon and many others.
Then, after a decade of worldwide success, he suddenly stopped all musical activity. After more than ten years of silence, Kanamori returned in 2012 with Dismantled Desire, released under his own name as KANAMORI on his newly launched Shiki Kyokai label. The album marked his return to the scene, and he would go on to release a number of acclaimed records and collaborations with artists including Tiga, DJ Funk and DJ Skull.
In January 2023, his debut album EXP, originally released on Tresor in 2001, was remastered. More than twenty years on, one of techno’s most ornate and singular albums suddenly felt fresher than ever. His story continues, as timeless as the music itself. And this Saturday, DJ Shufflemaster comes to Dublin for the very first time for Hidden Love.
You can purchase tickets here.
You discovered DJ culture and electronic music through various influences, from the early days of hip-hop to punk and new wave. At what point did you first discover techno, and do you remember your initial reaction to it?
Thinking back, the first albums I listened to where I actually thought, “This is techno”, and not “techno-pop”, were probably 808 State’s ex:el and The KLF’s The White Room. They both came out in 1991. To be honest, though, I don’t think I clearly understood it as “techno” just yet. I was already into house music and tracks built around four-to-the-floor beats and breakbeats before that.
When you started making techno yourself, who were you listening to at the time? Were there any artists you particularly looked up to or drew inspiration from?
In the very beginning, I was trying to make progressive trance-house or dubwise house, something similar to what the UK label Guerrilla Records was doing. But I quickly became obsessed with Chicago house, acid house, Detroit techno, and New York techno. Back then, DBX and Damon Wild were my biggest influences, although there were plenty of others as well.
What was the Japanese techno scene like when you first started releasing records as DJ Shufflemaster?
It was incredibly exciting. The guys who were just a bit older than me were already throwing parties and launching labels. International DJs were constantly coming over to play, and Udagawacho in Shibuya was packed with record stores. People used to say it had the biggest selection of vinyl anywhere in the world. There were just so many clubs back then.
Looking back on that era, it produced a lot of essential techno records, and Japan seemed to develop a distinctive sound of its own. Did it feel like something special was happening at the time?
Absolutely. I wasn’t old enough to experience the punk movement firsthand, but I knew I was right in the middle of the techno movement that followed it. And I don’t think that feeling was unique to Japan. People across the US and Europe, in the UK, Germany, Belgium, the Netherlands, and France, were all sharing the same scene and experiencing the same thing.
One of your earlier releases with Chester Beatty, Beat Boxx EP, is, in my eyes, a perfect techno record. What do you remember about making that EP?
We did a session at Chester’s home studio when he was still living in Kanazawa. From what I remember, I came up with the track ideas, the arrangement, and the overall vibe and sonic direction. He then handled the final sound design and tracking.
You have a long and deep catalogue of timeless techno. I would argue that you’ve perfected the art of the loop. Tracks like “Slip Inside You” and “Guiding Light” from EXP are, for me, the epitome of the perfect techno loop. What’s your thought process when creating those seemingly endless, hypnotic loops?
Honestly, I’m not thinking about anything deeply philosophical when I make them. It’s actually a very practical process, almost like doing basic math with sounds and different musical elements over and over again. I don’t think it’s fundamentally different from how other producers work.
Staying with EXP for a moment, it remains a fundamental part of techno history. I saw someone on Discogs describe it as “the best techno album in history.” How do you react when you hear praise like that?
It’s an incredible honour to hear something like that. At the same time, I want to point out that I didn’t create the album in isolation. It came from a combination of many factors: inspiration from the pioneers who came before me, the amazing work and performances of my peers, my connection with Tresor, and simply the era in which it was released.
Tresor reissued EXP a few years ago. What was that experience like? Did you enjoy revisiting those tracks, and did it bring back a lot of memories from that period?
I’d actually been thinking about reissuing EXP myself, but there were so many tracks that needed mastering. I remember thinking, “It would be much easier if Tresor just reissued it,” and then, fortunately, they got in touch, saying they wanted to do exactly that. The timing couldn’t have been better.
Listening back to the tracks, I felt the same way I always have: they don’t sound dated at all. In fact, I was already playing some of them in my DJ sets before the reissue happened.
Finding an unreleased track on the original DAT master tapes was a complete stroke of luck as well. I still remember the equipment I used and the production process quite clearly. I had a great studio setup and a really good working environment back then.
How are you enjoying touring these days? Has your relationship with performing changed over the years?
I’m getting the chance to play in countries and cities I never made it to during the 1990s or 2000s, which has been a wonderful experience. I’m very grateful for that. As for my approach to performing, that hasn’t really changed. The biggest difference is that I DJ digitally now, so I probably prepare my sets more thoroughly than I did in the vinyl era.
You’re playing in Dublin this weekend. Are you looking forward to it?
Definitely, it’s my first time in Dublin, and in Ireland, so I’m really excited.
Finally, what advice would you give to up-and-coming DJs and producers today?
Connect with people across languages and borders, and treat one another with respect. It’s perfectly fine to take breaks, so keep moving at your own pace and don’t feel pressured to rush. On the production side, read your gear manuals thoroughly. And most importantly, keep making music.
