In Conversation With: Shonky
Shonky launches the new label ‘Stoned Pilot’ - a project focused on collaborative crafts shaped in his berlin studio. We visit him to chat about this new venture and this moment in his career.
As one of the founders of Apollonia, a proficient producer with a catalogue spanning more than 15 years and dates in the best clubs and festivals all over the world as a touring DJ, there’s hardly any introduction that properly pays respect to the legacy Shonky built through the years. We were lucky enough to visit him in his Berlin studio for a chat, the occasion being the launch of his new label ‘Stoned Pilot’, a new project focused on collaborative approaches in his studio (we discuss this in detail during the interview).
The French producer immediately strikes me as an extremely genuine and humble character, welcoming me to his house with a kind smile and a sharp focus on our conversation from the start - at the same time, he’s got the enthusiasm and energy of a 20-year-old who just got his breakthrough DJ gig at his favourite club and is getting his first interview, giving me the feeling that he’s looking forward to whatever is coming up next. Shonky lives in Kreuzberg, in an apartment right below his studio, where he soon brings me to show the amazing array of gears he has available, which just leaves me speechless… I am not sure I can even begin counting the synthesizers in the room - I recognise some instruments while for others I can barely say whether they are drum machines, synths, or effect tools. There’s anything from the electronic music classics to collection pieces from the 60s. As we talk about it, I feel Shonky holds a dear place in his heart for each single one of them.
We take some pics and soon we start recording the conversation. From his new label to how lockdowns came with immersive studio inspiration, we go over different topics that go to shape an honest, vivid portrait of Shonky and this moment in his artistic path.
Listen as you read: previews from the first Stoned Pilot record ‘Humanizer’ by Shonky & Otis
Shonky
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Shonky 〰️
Hi Shonky, so nice to be in touch with you for this interview ahead of the first release of your brand new label, Stoned Pilot. I’d like to start with some questions focused on the label and then move to broader topics such as your moment in this career and your production techniques.
How was Stoned Pilot born? What is the core concept of the label?
The label was actually born because of its core concept.
I was doing a lot of music with friends during the first stages of the covid crisis. I love to share the studio with friends, and exchange ideas and visions with people in the studio. My studio is made for this, in the sense that even if you don’t know much about all the gear and the whole production phases, you can participate in the process.
So during these times, I had a lot of people passing by and joining the process in my studio, and I thought to myself, what am I going to do with all this music? Speaking to my booker the idea came up of a label based on collaborations. That’s the core of the label - friends of mine making music in my studio, together with me.
“I love to share the studio with friends. My studio is made for this - even if you don’t know much about all the gear and the whole production phases, you can participate in the process.”
So it will always be a collaboration in these records?
This is the idea. But it’s also important that it is a collaboration in my studio, the action is happening here. So no remote collaborations for example. I’m lucky to have so many nice pieces of gear and it makes me happy to share them with people. I want them to feel the same pleasure that I have in the studio and essentially share what I am fortunate to have.
The first release features four collaborative tracks by Otis and yourself. How did you and Otis meet? How long did the production process for this release take from its inception?
We met a while ago, he was a friend of my ex-girlfriend, we met in Torino or London… He was living in the flat right next to this one… We could speak from the window! He once texted me on my birthday “you should look at the window”, and they put a cake there. He’s a beautiful soul.
I showed him the studio, we were friends for a while and with the covid break, we got more studio time. We closed like 18/19 tracks and then we chose four out of these that we released.
I found the tracks very original; underground and analogue, but also fresh and hard-hitting where needed, and not easy to fit into any category. Were you going for a specific sound for this first release? What sounds are inspiring you in recent times?
When I was with him in the studio we really had a free approach, we went with what felt right each time. Sometimes deeper, sometimes faster, whatever... As long as we both liked it and enjoyed the process, we didn't need a specific direction… The inspiration was coming from the gear. They provide sounds, they provide colours, they provide texture. The drum machines can also provide texture. If you start by working on a certain piece of gear the sound will drive you in one direction or another.
“The inspiration was coming from the gear. They provide sounds, they provide colours, they provide texture.”
Of course, we had in mind to do something clubby-oriented, but apart from that, there are not many fixed characteristics.
‘Humanizer’ Cover - the first release of Stoned Pilot
We would love to have some insights regarding your studio-time processes. What does your workflow usually look like? Do you produce everything in the same studio?
So, I wouldn’t say I go there on a fixed basis… it has to come naturally. I’m lucky to have the studio above my flat, so I can go whenever I feel the inspiration. Usually, I’m not very inspired in the morning, my favorite time I would say it’s from the late afternoon to the evening. From 5/6 PM onwards, that’s always a good time for me.
In the morning I prefer to take care of planning tours, emails, listening to music to prepare my sets… In the afternoon then it’s just more automatic for me to get into the studio flow. Usually, I stay 5 or 6 hours in the studio, not much longer. But every single time, as I go in and out, I have one track ready. That's rule nr.1 for me. You go in and out, and you got something recorded. Then I can always work on the mix and give it some final touches. But the sketch is there.
I don’t do like 12 hours sessions. I don’t believe that you can focus on being creative for so long. After 10 hours nothing interesting is happening creatively speaking. They actually say after about two hours already your ears are getting used to anything. Even if you listen to something bad you might believe it’s good in those moments.
Regarding your production techniques, could you share the key components for this record in terms of gear?
One gear that came up often was the Minimoog Model D, which we used mostly for the basslines. But we didn’t use it all the time. I know that we used Voyetra 8 for ‘Humanizer’, which is especially good for pads and melodies, the Akai mpc3000, Roland Jupiter 8, we have been using the Elka Syntex… But once again, I am lucky enough to have enough gear that you can always change, so there wasn't really any fixed set-up.
I also had these drum tracks that I customized with an amazing sound. I often mix drum machines together, I have so many, so I rarely use just one. I have some tools that I always use, for delays and reverbs for example, but the core sounds are changing all the time. In the end, it’s a blend of a lot of different stuff.
Shonky in his Berlin studio
This moment in any artists’ career must be a very peculiar one, but especially with an experienced artist who has seen it all like you, it must have been odd, to say the least, to have the touring intermittently stopped for almost two years now.
How did you evolve as an artist during this time? Do you feel like your perspective and relationship with electronic music changed at all?
I think for a lot of people it was a time of introspection. For me, it’s not like I fully enjoyed it, but afterwards, I can think of it as a good time. I’m not saying I’m nostalgic but I remember how much I learned in the studio, how much I could explore, without being so busy touring.
I think I really maximized my time in the studio… I wasn’t even looking for new music until early 2021. All of 2020, from March onwards, I was in the studio, and I created so much music. A tough time in some aspects, but I would say in the end a good time. It was the first time ever that I had a proper break…
“My main realization with covid was that making music and playing music are more important than anything else. During this time more than ever, I realized that this is what I want to do with my life, for as long as possible.”
I am happy with how I was able to focus on many different projects: I could rethink where I want to go with Shonky, where I want to go with Apollonia, and what’s good and what’s not. What needs to be changed. Essentially asking myself: what could be better?
My main realization with covid was that making music and playing music are more important than anything else. During this time more than ever, even without touring, I realized that this is what I want to do with my life, for as long as possible. I can see myself 80 years old and still jamming on my drum machines in the studio (laughs).
After all of this, I’m now looking for so much new music, buying so many new records...
Is there any change in terms of the style of records you are going for?
I mean, I evolve with the music I have around of course. I do play a little bit more modern than before. But I keep a club touch, a Shonky touch and a House touch to all of my sets. Of course, you check out new releases and when there’s new great stuff, you will react to that. Everybody is evolving together, you can't invent all of the music by yourself.
What’s important for me is not to move too far from the original style that represents Shonky. I always believed that the DJ is there to provide a vibe. And for me, I want to provide a good vibe. I love to see the smile on people's faces. Big or small stage, Hoppetosse or a 10.000 people festival, a set needs to follow a line, which for me is bringing a positive vibe.
“I keep a club touch, a Shonky touch and a House touch to all of my sets. I always believed that the DJ is there to provide a vibe. And for me, I want to provide a good vibe.”
Do the dance floors feel any different after these breaks?
Not really. People are good at forgetting things fast. One moment ago everyone was scared of getting on the dancefloor with no masks, now nobody would even think about it. I don’t know if it’s good or bad, but it’s nice to see we are not too traumatized by the situation.
In general, this is no longer an unknown scenario and I feel we are all a bit more prepared to be back to partying. It’s finally a bit more relaxed, everyone is a bit cooler, more chill than a few months ago. I’m sure it’s going to be a nice summer, it feels like a really good moment.
