With his recent rework of Sharam Jey’s Shake Your, Marco Lys returns to Toolroom with a remix that nods to the original’s early-2000s swagger while dialling up the swing and grit for today’s floors.
First released more than 20 years ago and previously remixed by Nicole Moudaber, the track’s DNA is well-worn territory—but this new version, commissioned directly by Mark Knight, flips it with sharp percussion and a tighter, more streamlined groove.
In this interview which lands alongside an exclusive mix from Marco, the veteran producer opens up about the legacy of the original, how he approaches remixes with history, and why the kick still comes first. Whether you know him from early releases or his current club output, the thread is clear: rhythm always leads.
Your new remix of Sharam Jey’s ‘Shake Your’ brings new energy to a track that originally shook clubs worldwide over two decades ago. What was your relationship with the original, and how did that shape your approach to the remix?
Hey guys, and thank you for having me! I was familiar with the original version of “Shake Your”, so when I received the remix request from Toolroom (directly from Mark Knight) actually it was a really nice surprise. Of course, I accepted it with great enthusiasm. My approach was to identify the key elements that defined the original track and build my remix around them, giving it a fresh and modern sound while still respecting its essence.
Nicole Moudaber famously reworked ‘Shake Your’ in a previous re-release. When revisiting a track with that kind of remix legacy, how do you strike a balance between paying homage and pushing things forward with your own identity?
When I got the remix request from Toolroom, one of the first things I did—like I always do —was check if there had been any previous remixes. That helps me understand what’s already been done, and what direction I should take or avoid.
And yes, I found out that Nicole Moudaber had done a remix, which definitely added a bit of pressure—but in a positive way! It motivated me to really bring something fresh to the table while still respecting the legacy of the track and making sure my own signature sound came through.
You’ve often talked about starting tracks with the kick. Is that still the anchor of your workflow, or has your approach shifted with time and technology?
Yes, for me starting with the kick is like laying the foundation when building a house—it’s always the first step. From there, I build around it, adding drums and grooves that I chop, quantize, and tweak to shape the overall rhythm and energy.
That said, there are times when I stumble upon a cool synth sound or a great sample that inspires a riff or an idea—and I’ll run with that. But even in those cases, I always make sure to drop in a solid kick early on. It’s still the anchor that everything else revolves around.
Your music merges tribal, house, and tech elements with a strong rhythmic core. What early influences—musical or otherwise—helped shape that sound palette?
I started making my first steps into music production right around the time house music was being born, and I’ve always had a strong passion for percussion—even if, unfortunately, I don’t know how to actually play it! I’ve always loved how percussion blends with house grooves; it’s that rhythmic element that makes people move, maybe tapping into some kind of primal instinct we all still have.
Musically, I was heavily influenced by hip hop early on, especially because of its use of ‘70s samples filled with percussion—congas, bongos, cowbells. And of course, artists like Lil Louis and Masters at Work played a big role in shaping my sound too.
From Toolroom to Relief and Stereo, you’ve worked with a range of key labels. How do you tailor your creative output depending on the label, or does the music always come first?
For me, the music always comes first. I create what inspires me in the moment and then pitch the track to a label I feel is the right fit for that sound. I don’t produce music with a specific label in mind—I’ve tried that before, but it just doesn’t work for me. The creative process flows much more naturally when I’m not trying to force it into a particular mold.
With your FaderPro course, you opened up about your process. What prompted you to lift the curtain, and what do you think is often misunderstood about the way electronic tracks are built?
I’ve always enjoyed sharing my workflow and learning from how others work too—I think it’s a great way to grow as a producer. With the FaderPro course (in collaboration with Armada Music), I had the chance to show how I move within my natural environment, and it was a real pleasure to be part of that project.
One thing I believe is sometimes misunderstood—especially by younger producers—is the importance of cohesion within the groove. It’s something seasoned pros rarely overlook, but I often hear tracks where different groove elements are layered with conflicting swing or timing, and they end up clashing rather than complementing each other.
You’ve had a long-running relationship with Mark Knight and the Toolroom family. What has that partnership meant creatively, and how has it evolved over time?
My relationship with Toolroom has been going strong for over 12 years now. I’ve released a lot of music with them, several sample packs, and more recently I recorded a course for the Toolroom Academy that will be available soon, along with my rework of Sharam Jey’s Shake Your. I’ve always felt a great sense of support from the label, especially from Mark Knight, but also from the entire team. I was recently at their headquarters to record the course and a live mix, and those two days were not only enjoyable but also incredibly inspiring from a creative point of view.
Having come up in an era of hardware and transitioned into digital workflows, are there tools or habits from the early days you still cling to?
I’ve actually witnessed the entire evolution of music production over the years—I only missed the era when masters were recorded on analog tape instead of DAT. And honestly, I don’t miss those days. Back then, you couldn’t save mixer settings for quick recall. If you wanted to return to a project, you had to take a photo of your mixer or write everything down manually. That meant you were basically forced to finish a track before starting a new one, or it would turn into a total nightmare.
These days, I’m fully in the box, aside from a Roland expander that I still use occasionally for string sounds. That’s pretty much the only piece of gear that connects me to those early days.
Tell us about the mix you’ve put together for us – any specific tracks you’d like to highlight?
The set is an energetic blend of house and tech house, all centered around groove and rhythm. It features tracks I really love, a few unreleased gems from friends, some of my latest releases and remixes, as well as a couple of older favorites from my own catalog. It’s a snapshot of what I’m into at the moment and what you might hear in one of my club sets.
What’s something outside of music—visual art, film, travel—that consistently finds its way into your creative thinking or production decisions?
I’d love to say, like many do, that I’m inspired by nature or certain scents… but the truth is, I’m inspired by music itself. What really drives my creative decisions is imagining how people will react on the dancefloor to the track I’m working on. That thought helps me decide whether a break should come here or there, how to build tension, when to release it. I try to put myself in the listener’s shoes—if what I’m making gives me goosebumps, then I know I’m on the right track.
Tracklist:
Nick Curly & Stee Downes “Unite” (Club Mix)
Sharam Jey vs Marco Lys “Shake Your” (Extended Remix)
Nicole Moudaber “A Feeling” feat. Jasper Street Co. (Extended Mix)
Basement Jaxx “Rendez-vu” (Marco Lys Remix)
ItaloBros “Tulum”
FEX (IT) “Fall In Love” (Marco Lys Remix)
Angel Heredia “Fuego”
Chris Lake & Marco Lys La Tromba (Marco Lys Rework) (Extended Version)
Marco Lys & Ben Miller “Hear This” (Extended Mix)
Discip “Mind Games” (Extended Mix)
Luca Garaboni feat.Fabiola Osorio “Nino” (Marco Lys Remix)
WeMart “Sintetico”
Francisco Allendes “Desire” (Extended Mix)
Nic Fanciulli, Black Circle “Blessed” (Extended Mix)
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