For those of you who don’t know, Shonky is a renowned Parisian house artist with an abundance of knowledge and experience under his belt. The French DJ and producer first cultivated his signature sound back in 2005, becoming one of Paris’ key exponents — simultaneously helping re-establish the city’s prominence on the global stage alongside fellow Apollonia co-dees Dan Ghenacia and Dyed Soundorom. Originally inspired by Ghenacia after discovering him playing the sounds of nineties San Francisco house at the infamous Batofar after-hours party in Paris, Shonky has become internationally recognised for his signature hypnotic, hard grooving sounds characterised by punishing beats laced with detailed polyrhythms and elusive motifs.
Over the years the French beatmaker has released music with a series of notorious imprints such as Rawax, Yoyaku, Half Baked and Third Ear, showcasing his groove-ridden ‘Shonk’ sound first witnessed in his debut full-length album Time Zero via Freak n’Chic. Following a slew of captivating singles and EP projects, Shonky returns with just his second album, fifteen years on from his debut. Returning with a club-ready hypnotic fuelled project entitled On The Run, Shonky navigates the listener through a series of eight delicious house dubs from the minimal sounds of “Kombattant” to the more techno-ready kicks of “Prime Time”. The album is a testament to Shonky’s relentless work over the last decade, and further demonstrates why the Frenchman remains at the very forefront of the international house scene. In true fashion, Shonky guides us through a track-by-track guide of his latest release On The Run.
“Basslines are always an important element of my tracks — I usually build things around them. For the last few years, I have been mainly using the Minimoog model D but in this one I worked it differently, using the Yamaha CS30. This was one of the many synths my dear friend, Zdar, advised me to buy. He sadly passed away. I owe him a lot.”
“The only track I didn’t produce in my Berlin studio but in Ibiza. It has more of an outdoor vibe. I remember testing it a lot during the summer. For the main melody I used the Roland JD800 and for the acid line, the Teisco 60F, which is an underrated monosynth.”
“I would say this is the most techno track of the album. For this one I used one of my favourite effects, the Lexicon Prime Time 93, which is capable of delivering unique sounds. The lead sound of the track was made with it.”
“I used a lot of delays in this one, especially the Binson Echorec 2. I love the pads I made with the CS70 M. This synth is magical and has such character. Everybody is crazy about the CS80, but this one is a serious candidate.”
“I remember making it on a Saturday night in early spring when many festivals were happening. I saw a few festival streams and was inspired to create something I could play at this type of event. I made the lead with the Korg PS3200, which is definitely one of my faves.”
“Love this one; it’s perfect for the early mornings. I made it straight after coming back from a party I played in Berlin. I love doing this — making a track after being totally inspired by the night I’ve just had. I stayed in my studio all afternoon and passed out at night.”
“One of my favorite tracks of the album. I made it just before Sunwaves and I remember how much I enjoyed playing it during our set with Apollonia. It’s always such a pleasure to play the music you made just the week before and seeing the reaction of the people dancing in front of you.”
“This is the first track I made for this album. It’s definitely more minimal and also the only track on which I used samples. I’ve played it a lot and am happy to have it on Dance Wax.”