GiNN 諸葛靖 Talks New Track & Guilty Pleasures

Born and raised in the vibrant cultural landscape of Los Angeles, GiNN 諸葛靖 is a Chinese American artist whose creativity knows no bounds. Known for his eclectic style, he masterfully fuses elements of electronic dance music (EDM) and hip-hop, drawing inspiration from a diverse array of genres including house, techno, drum and bass (DNB), and ATL trap. This unique combination results in his signature sound, which he refers to as Electro Hop — a genre that reflects the dynamic rhythms and pulsating energy of urban music scenes.

Released recently, ‘暈 (Dizzy)’ is as impressive as it can get. Raw and dark. Emo but modern. So many terms from so many areas, because it’s just so damn difficult to put it in a box. But the whole amalgam of influences is harmoniously, magisterially remixed into a homogenous, unmistakable style.

Curious to find out more about where the track extracted its juice, I sat with the musical prodigy, GiNN 諸葛靖, and asked him a few questions.

Hi! For starters, when did you get the music bug? Can you recall your first ever musical experience?

I was around three when I started studying classical piano, but the real ‘music bug’ bit me when I realized I could sleep to ‘Boom Boom Pow‘ by Black Eyed Peas. I know it sounds wild, but that track was both soothing and electrifying for me. Piano, on the other hand, wasn’t love at first sight—I’d sit there practicing scales, dreaming of doing literally anything else.

But over time, I started hearing melodies in my head and imagining how I could twist them into something of my own. Far East Movement also became a huge inspiration, especially with their hit ‘Like a G6.’ If you’ve heard my Electro Hop tracks, you can feel that influence—music meets inclusion.

For a fan-to-be who may not have yet heard a GiNN track but is reading this as their introduction into your world, how would you describe your sound and where it’s going?

My sound is a fusion—a chaotic yet intentional blend of Electro Hop, Deep House, and ATL Hip Hop. And here’s the kicker: my face doesn’t even match my voice. Imagine a bass-heavy nightclub in one ear and a poetic, dark-humor, bilingual rapper in the other. Think Black Eyed Peas meets Zhu meets a sprinkle of emo rap, and the dude doesn’t give a solitary F. Where it’s going? More layers, deeper emotions, and sharper cultural storytelling. I’m here to push the boundaries of what East-West fusion can sound like.

What are the elevator pitches for your music that’ll make people have to listen?

Imagine if a pretty boy made a club banger, had a dark sense of humor, and got existential about love, lust, and wasted time — all while rapping in Mandarin and English over techno beats. That’s me. My music hits hard enough for the club but has enough depth for your headphones.

How do you get into the headspace to write something? Are you a “writing at 3 a.m.” type of person? Or are you sporadically making notes on your phone that eventually become something amazing?

It’s chaos. I’m absolutely the type to wake up at 3 a.m. with a random lyric or melody in my head and rush to record it on my phone before it disappears. I write down ideas in cabs, on planes, and even during toilet time. I keep a running list of random thoughts—things I overhear, feelings, or even jokes. It’s like a puzzle, except the pieces are everywhere. And as for people? Yeah, attractive ones inspire me, but let’s be real — I’m an INTJ-A and not that proactive with women. Just being honest here.

When you start designing a new sound, do you already “hear it in your head,” or do you just start noodling the knobs and experimenting? What was it like for ‘暈 (Dizzy)’?

‘暈 (Dizzy)’ was a mix of both. I had this bassline in my head that felt expansive and seductive like it was crawling through your veins. I knew I wanted something hypnotic yet danceable. So, I laid the foundation using vocal expressions and literal ankle pounding (yes, in front of my arranger). From there, I started tweaking, layering, and experimenting. The knobs definitely surprised me, but the hardest part? Mixing and mastering. My deep voice sometimes clashes with 808s, and I still want to keep that full-body vocal tone. It’s a journey, but it’s worth it.

What do you hope listeners take away from ‘暈 (Dizzy)’?

I want listeners to feel confident, playful, and open to romantic connection — and not to shy away from a little touch here and there. But at the same time, I want them to respect boundaries and remember that chemistry isn’t a free pass to overstep. ‘暈 (Dizzy)’ is a soundtrack for letting loose but always with intention.

How do you know when a track is ready? Does it ever become difficult to refine ideas or stop perfecting?

It’s ready when the energy matches the story I’m trying to tell. I want people to feel those spicy boom-boom vibes, but yeah, perfectionism is a challenge. For ‘暈,’ we went through 30 post-production versions before landing on the final one. Sometimes I revisit older tracks and think, ‘I could’ve done this differently,’ but there’s beauty in embracing the imperfections and moving forward.

Do you have any specific reference tracks that drive your productions?

Black Eyed Peas’ ‘Boom Boom Pow,’ Zhu’s ‘Faded,’ and Travis Scott’s ‘SICKO MODE‘ are big ones. They each have this dynamic energy that inspires me to push boundaries and layer sounds in new ways. I also vibe heavily with the Far East Movement’s ‘Like a G6.’

There are many descriptions of the ideal state of mind for being creative. What is it like for you? What supports this ideal state of mind, and what are distractions?

My ideal creative state? Alone, on the toilet, late at night, cigarette in hand, with zero distractions—just me, my DAW, and whatever vibe I’m chasing. Biggest distractions? Social media and all the issues I need to solve, like streamers in my TikTok Guild. To get into the zone, I dim the lights, throw on a track that matches my mood, and let myself flow. Ride the wave — or should I say WAV?

I also want to ask you about the bands that have been continuous influences for you, but also about new bands and new records that you think are exciting in this scene.

Black Eyed Peas, Far East Movement, and Timbaland are my forever inspirations. They’ve redefined how genres blend. As for newer acts, XG, Aespa, and Stray Kids are absolutely killing it. I’m also hyped about what 99God and Yaka are doing in China. They’re showing the world that music has no borders.

Guilty pleasure time. What would you say are some of your current most guilty pleasures?

Spicy food — moyushuang, mala hotpot, anything that burns and is absolutely loaded with oil. Entertainment-wise, I’ve been bingeing horror movies and some questionable anime I’ll never admit to liking. But hey, I’d love to voice-act for those types of animations one day.

Looking to the future, what’s next for you?

More collaborations, performances, fashion shows, acting gigs, and hopefully getting my music onto Netflix series like Warriors or The Brothers Sun. My next project, Post-Euphoria, dives even deeper into Electro Hop. Think of ‘暈 (Dizzy)’ as just the prologue.