Shay Shaz and COHN’s Tok Tok EP is a vivid, personal take on house music that folds together 90s euphoria, Italo shimmer, and a theatrical queer energy.
Across four tracks, the duo tap into shared nostalgia while pushing against the genre’s more polished edges, favouring raw warmth and personality over perfection.
With a history of releases on renowned labels like Kitsuné, Nervous, and Bordello A Parigi, COHN’s signature style continues to evolve. Shay Shaz, known for his high-energy sets and his 2024 release “Joy” on Polari Records, brings his flair for storytelling and retro flair to the project. Together, COHN and Shay Shaz present a bold and unapologetic tribute to individuality and creative freedom.
We spoke with COHN about the roots of their sound, the spirit behind Tok Tok, and the freedom that comes from making music entirely on their own terms.
Where did your individual relationships with house music begin? Was there a particular track, club night or DJ that first pulled you in?
We both had a love for house music going way back — it’s always been about feeling more than anything else. Growing up, we were both drawn to the openness and euphoria of 90s house, and that sense of sweat and emotion on the dancefloor. We both have this deep respect for House and Italo — and honestly, when we DJ together, we have to stop ourselves from just dropping throwback bangers all night. That nostalgia really shaped how we entered the scene and still informs how we move through it.
You both draw on different shades of house across the EP. Were there any specific producers or records that acted as reference points while making Tok Tok?
Yes — but not in the traditional “reference track” sense. We weren’t trying to recreate anything, but there’s definitely DNA from people like Patrick Cowley, Larry Levan, and that early 80s/90s gay club energy. For example, “92 Lorimer” is a direct tribute to Cowley and that time in Shay’s life when music, fashion, and freedom all came together. We love the spirit of those eras — the boldness, the emotion — and tried to channel that energy in a way that felt personal and current rather than retro.
How do you see your sound evolving within the current landscape of house music? Are you responding to what’s happening around you or just following your own path?
We’re very aware of what’s around us, but we try not to get too caught up in it. This project came from instinct — not pressure or posturing. It wasn’t about fitting in, it was about expression. House music today can sometimes feel polished to the point of sterility, and we wanted to push back against that. There’s a kind of messy, emotional, theatrical energy in what we do that’s very intentional — but also just very us.
There’s a strong sense of warmth and character in the production. What gear or production choices helped you get that 90s feel without it sounding overly retro?
The warmth comes from the energy in the room more than any one piece of gear. “Tok Tok” was originally written back in 2017, and some of the vocals were literally done in two takes. We kept things loose and alive — it was about feel, not perfection. “Tiger & Tuna,” for example, is full of weird little details and imperfections. It was never about imitating the 90s — we just let the influences show themselves naturally.
The vocal in Tok Tok is simple but striking. How important is it for you that house music still holds space for joy, affirmation and identity?
That’s the heart of it. The whole idea behind “Tok Tok” came from a moment when Shay felt the queer scene was losing its individuality — trying to compress into a single version of masculinity. This track was a pushback against that. The name even comes from the sound of heels on a floor — a metaphor for showing up exactly as you are. We both believe that house music should be a space for joy and identity. Not everything has to be heavy or academic — celebration is political too.
92 Lorimer seems to tap into the spirit of Patrick Cowley and 80s street culture. How did you approach blending those influences into a house framework?
“92 Lorimer” is named after Shay’s first apartment in New York, when he was 20 and obsessed with Cowley’s music. At the time, Shay was working in fashion — as a hairstylist and makeup artist — and constantly playing Cowley records on set. There was even a record store with a Cowley section nearby. That track is a personal tribute — not just to Cowley, but to a time of self-discovery through music, art, and identity.
Shay Shaz
Tiger & Tuna feels like the most stripped-back and club-focused track on the release. What kind of setting or crowd were you imagining when you made it?
Funny enough, “Tiger & Tuna” was kind of a wildcard. I had made it ages ago but wasn’t sure about it — it’s twitchy and full of little surprises. When we were building the EP, Shay heard it and immediately loved it. It ended up being one of the most club-forward tracks on the record, and it captures how we encourage each other and trust each other’s instincts.
When you talk about genre-blending in your music, what does that mean in practice? How do you decide when to stay rooted in house and when to let other influences take the lead?
It’s really about mood and honesty. We’re both drawn to different parts of the same spectrum — COHN might lean into a more technical side, Shay brings this chaotic, high-energy flair — and the mix just works. We don’t draw hard lines between genres. Sometimes a track wants to be sweaty house, other times it leans into Italo, or even glammy disco. We just follow the feeling.
Butter & Wine feels like a natural home for a project like this. How did that connection come about, and how involved were they in shaping the final tracklist?
Butter & Wine is actually my label — so that meant we had complete freedom. That was essential to the spirit of the EP. From day one, the label leaned into the queerness, the emotionality, and the theatrical side of what we were doing. It wasn’t about toning things down — it was about turning them up. That freedom shaped everything.
COHN
Looking ahead, do you see Tok Tok as the start of something ongoing between you, or was it more about capturing a specific creative moment and moving on?
We’ve DJed together since and spend loads of time together — so we really hope this is the beginning of something long-term. This wasn’t just a one-off — it was the start of a musical love affair, honestly. The spark was real from the first session, and we both want to keep exploring wherever that energy takes us.
Tok Tok is out now on Butter & Wine