SKINSHIP MIXSET | 9 | IDEOLOGY | EXPLANATION

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IDEOLOGY _ SKINSHIP

 

Many works of art from different eras reflect the ideas and ideologies of the time, and music is no different.

A piece of music is created, 100 pieces, 1000 pieces, and it represents an era.

 

At the tender age of 10. Living in New Zealand. I remember listening to an untitled pop song that sang about love.

It was exotic, exciting, and resonated with me because for the first time I was having experiences and emotions I had never felt before, through another person and medium.

 

Why did it resonate with me?

I was at an age where I had no experience with love.

 

I think this kind of empathy and persuasion by second-hand experience comes naturally from different ideologies of different times.

It's human history, and it's also the power of music.

 

I ran a poll on Instagram the other day, and thankfully  got a lot of great responses.

With your participation, this mixset is a reflection of the fact that we are all living in the same time period and ideology.

 

I guess you could say it's two different feelings within one ideology.

 

So, let's start explaining the tracks.

 

 

 

 

1 / Narcotic - SKINSHIP (Original Mix)

 

“Narcotic” | 0 - 01:45

 

I started writing this song after stumbling across a story about hypnosis.

 

I've never been hypnotized, but I've heard that when you are, it's like an intense dream that you remember vividly, even though it's a dream.

I wanted to capture that fun feeling of “intense dreaminess”.

 

People say that when you're hypnotized, you see a lot of different colors in front of your eyes.

I tried to imagine being hypnotized and the different images you see even with your eyes closed.

 

00:15 - Creating a one-step hypnotic experience

The following is an evocation of the images you see after being hypnotized.

 

Themes : Colorful, dreamy, intense.

 

 

 

 

2 / Never Mind - SKINSHIP (Original Mix)

 

“Never Mind!” | 01:45 - 03:48

 

I wrote this song while thinking about my early 20s, when I was dancing and having fun without thinking about people.

The same inspiration leads to track 14, “Playmate”.

 

I still remember the shock of going to a club for the first time in my life.

It was the first time I broke the common notion that music is something you listen to with your ears.

 

The experience of feeling the music through my skin instead of hearing it was the inspiration for the name SKINSHIP.

 

 

 

 

3 / Shiny Disco Ball - Who Da Funk (SKINSHIP REMIX)

 

“Shiny Disco Ball REMIX” | 03:48 - 05:48

 

I think the interior of a venue is the “music” that fills the space.

 

The disco ball (mirror ball) is not just a lighting fixture in these stage, but also a visual medium to recall the memories of the day.

 

We're always faced with a shining mirror ball with exciting music.

But a mirror ball in the same place, but in a quiet stage with no one around, always shines.

 

I wanted to see the mirror ball as a gatekeeper who welcomes me to the stage, but also as myself.

 

In life, you don't always have the same environment.

In that case, why not think of a mirror ball that welcomes different music and different people every time?

 

After all, it's only the environment that changes, not you.

 

You don't have to be conscious of what others think of you to shine.

Because the mirror ball doesn't change as you journey through life.

 

It's okay to be quiet.

Just like the mirror ball that is shining brightly in the unlit stage right now.

 

Original song: Shiny Disco Ball - Who The Funk

 

 

 

 

4 / Weekend - Class Action (SKINSHIP REMIX)

 

“Weekend REMIX” | 05:48 - 08:02

 

I love all music, but lately I've been really into disco and house.

I especially enjoy the post-disco genre, which is a hybrid genre that is a transition from disco to house.

 

There are so many things I love about post-disco.

Soulful yet cool vocals and tickling choruses,

disco-like yet groovy vibes, and punchy house beats,

retro and newtro,

classic and modern.

 

This track is one of those post-disco songs, Weekend by Class Action, adapted to a club tune in the year 2024 in South Korea.

I tried to make the most of the upbeat, soulful vocal melody and split the top line of the drop 50/50 between vocals and synths.

 

As with most of my tracks, this one is one that I couldn't put my foot down while working on because the lyrics are so good and I have a personal love for the genre.

Tonight is party time, It’s Party time tonight~ It's so simple and yet so romantic, don't you think?

 

I recommend you to listen to the original song, which is about 8 minutes and 30 seconds long.

 

Original song Weekend - Class Action

 

 

 

 

5 / Shake It Don't Break It - SKINSHIP VER (Back To 2013) _ not for release

 

“Don't stop, keep dancing” | 08:02 - 10:03

 

This is a very famous vocal that I've been sampling since 2013 and have always loved to use as a DJ and producer.

The word “break” here means “don't stop, keep dancing”.

 

It's a vocal that's been around for over a decade, but when I was writing the song, I looked it up and realized that it's been used in a lot of different songs.

I couldn't find the exact original source of the vocal, so I used the drop synth line from a classic song I was playing at the time as a buildup, along with vocal samples I had on hand, while keeping the drop in its original form to create the VIP version.

 

 

 

 

6 / Lick It - 20 Fingers (SKINSHIP REMIX)

 

“Lick It REMIX” | 10:03 - 12:18

 

Lick It by 20 fingers has become a worldwide favorite with its rhymes, Lick It, Kick It, Work It, and catchy chorus, and it has spawned countless remixes around the world.

 

The lyrics about craving physical love are also a fun part of “Lick it”

The original song's lyrics of “Boom ba dada dada” sounded like an onomatopoeia for cell phone ringtones to me.

When I was thinking about what could be fun and Korean, I was inspired to design the synth sound by the ringtones of analog any-call phones.

 

The sound of a cell phone is divided into sound effects and ringtones, right?

 

I took the concept of an old analog cell phone, not a modern one, and took the idea that the sounds are unified, and added a bit of sillyness to the melody, which is my favorite tone and manner.

 

First half of the verse 1 Drop (10:48) - sound effects

Second half of the verse 1 Drop (11:03) - harmonizing multiple sound effects

Verse 2 Drop (11:48) - Representing a ringing tone

 

 

 

 

7 / My House - SKINSHIP VER (Chuck Roberts) _ not for release

 

“Speech - Chuck Roberts” | 12:18 - 15:03

 

A sampling from the famous speech My House. There are tons of versions of the My House speech out there, but I think Chuck Roberts' deeply appealing voice is the best.

The word jack is a word pun, so it can be used in many different ways in many different contexts.

I've rewritten and rearranged it to make more sense of jack = shake, dance in this speech

 

In the voice of Chuck Robert, I want to shout out to you, “ COME ON LETS JACK ! ” = “Let's all dance!”

 

 

 

 

8 / Vogue - Madonna (SKINSHIP REMIX)

 

“Vogue Remix” | 15:03 - 17:07

 

I tend to write music when I'm inspired by something, or use music as a medium to tell my story to the public, but I don't think it's essential to have a story when making music.

Especially in dance music like house music or EDM, which also has the virtue of being “uplifting”.

I think the “meaning” and “image” of a work is formed by the artist, but it is also formed by the public.

 

In other words, sometimes the meaning of a work is conveyed as the artist intended, but sometimes it is conveyed differently from the artist's intention, and sometimes it is newly created by the public without the artist's intention.

 

The same goes for other music genres, but dance music, which makes a lot of people laugh and dance, doesn't necessarily have a story, but a lot of stories are created by the public.

Because it's music that has made me cry, laugh, dance, be happy and sad.

 

P.S. This remix focuses on the story above, and takes a slightly different order of work than usual, with the keyword “uplifting” as the theme, creating the composition-arrangement line first, then finding the right Madonna vocal to go with it.

 

Original song: Vogue - Madonna

 

 

 

 

9 / Edge Of Seventeen - Stevie Nicks (SKINSHIP REMIX)

 

“Age of Seventeen REMIX” 17:07 - 19:22

 

The first time I heard “Edge of Seventeen” by the Queen of Rock, Stevie Nicks, I was in the lower grades of elementary school.

 

I remember being mesmerized by the powerful vocals that burst out of the silence along with the repetitive guitar, and googling the genre for the first time.

 

I now know the content and story of the song, but at that young age, the catchy hook and cool guitar and keyboard sound were the main listening points.

 

I brought back memories of the first time I heard the original song.

Original song: Edge Of Seventeen - Stevie Nicks

 

p.s. There's a joking anecdote that the house that was playing this original song loudly at 2am was called out by a neighbor, but the police heard the music and arrested the neighbor, not the house that was called.

 

 

 

 

10 / Release Me - Marta Ren & The Groovelvets (SKINSHIP REMIX)

 

“Release Me REMIX” | 19:22 - 22:00

 

I imagined a jazzy, funky tune coming out of a cassette tape.

 

I like to paint with the sounds themselves, so I like to work without a lot of sounds, which naturally leads me to seek out compositional interest in songs that aren't typical.

The pauses and short build-ups, the guitar and saxophone playing across from each other, the cool vocals, and the sound of the tape rolling are the listening points of the track.

 

p.s. The improvisational nature of jazz is represented by “jams”, where players improvise without a score, and “scats”, where they hum along to a melody with random sounds.

 

The guitar and saxophone jam at “21:15” / the rest of the piece is a ensemble.

The sounds of the tape rolling are at “19:52”, “20:05”, “20:37”, and “21:44”.

 

 

 

 

11 / Turn Up The Volume - SKINSHIP (Original Mix)

 

“Turn Up The Volume” | 22:00 - 24:37

 

I always believed that the destination of sound is an image, and that the power of sound is that the same sound can convey different images.

 

But then I heard that people who are congenitally blind dream in sound, and it was like being punched in the head.

I hadn't realized that for some people, sound doesn't end in an image.

 

I've always tried to write music that's not typical, but I realized that my philosophy of the image being the destination of sound could be a generalization.

 

There's nothing wrong with images being the end of sound, but I wanted to capture the idea that it's not necessarily the only end.

 

I started with the question of how to make music that ends in sound rather than images, and how to make it effective,

and chose to focus on the sound itself.

 

Verse 1 Build Up (22:15) - Sound to draw attention to the upcoming drop

Verse 1 Drop (22:45) - focus

Bridge between Verses 1 and 2 (23:30) - fading sound

Verse 2 Drop (23:52) - stronger focus

 

I wanted the track to end on its own meaning of sound.

 

Theme : Black Hole

 

 

 

 

12 / What Do U See - SKINSHIP (Original Mix)

 

“What Do U See?” | 24:37 - 26:52

 

I wanted to capture sounds that are fun, but you don't usually hear.

 

Basically, the high-pitched sound has the property of trying to break through, and the low-pitched sound has the property of surrounding the sound.

 

We call this “peaking”, which is that the high-pitched sound hurts your ears.

Usually, the solution to this peaking is sound design, which is to cut the high-pitched sound,

 

I don't want to lose the coolness of the highs, so I often choose to not [remove] the highs by cutting them down, but rather [add] [lows] that can support the highs.

 

What happens is that the peak is reduced, as intended, but the dB of the sound itself goes up.

 

Instead of reducing the sound because it's loud, adding sound because it's loud.

 

Isn't that fun and interesting?

 

In this track, I've added a straight low-pitched sound to the high-pitched sound heard in the drop to fill in the lack of mid-range sound, and avoid peaking.

 

 

 

 

13 / I Am Sober - SKINSHIP (Original Mix)

 

“I'm sober, I'm not drunk” | 26:52 - 29:18

 

I wanted to capture the feeling of being drunk and staggering around, as opposed to being drunk and saying “I'm fine”.

 

You can think of it as being drunk after drinking, or drunk after doing drugs.

(p.s. I don't do drugs).

 

The basic melody line is about staggering around drunk.

 

The chopping of the vocals and sound effects in the middle of the song are meant to represent the slurred speech and jumping memories that come from drinking too much.

 

When you're drunk, you're basically not whole or normal.

So the composition of the song itself doesn't have a typical bass house buildup and drop structure.

 

It's a steady, fast tempo until verse 3, and then it breaks down and drops abruptly, which I've tried to depict as a drunken situation.

 

It's fun to listen to and imagine yourself staggering along.

 

Verse 1 Build Up (27:08) - The process of getting intoxicated from the consumption of alcohol or drugs.

Verse 1 Drop (27:38) - Staggering around drunk

Verse 2 Fill In (28:09) - A brief pause (blackout)

First half of the 2nd Drop (28:16) - Slurred speech begins to appear

Second half of Verse 2 Drop (28:32) - Stops staggering and tries to sober up.

Verse 3 Fill In (28:44) - Pause (blackout)

Verse 3 Drop (28:47) - Staggers again.

 

 

 

 

14 / Playmate - SKINSHIP (Original Mix)

 

“Playmate” | 29:18 - 31:41

 

This song started with the same inspiration as track 2.

 

It's about the shock of going to a club for the first time and the day EDM became my playmate.

 

Whereas the track above, 'Never Mind', is more focused on the atmosphere of the venue itself,

this track, “Playmate,” is focused on the shock of the music that I personally felt when I first went to the club.

 

The shivers that come from the kick and bass make you feel like you're listening to the music through the stage speakers, doesn't it?

 

 

 

 

15 / Bombing - SKINSHIP (Original Mix)

 

“Bombing” | 31:41 - 33:52

 

Inspired by a 1945 airplane shooting game that I happened to be playing at an arcade.

 

Go to the arcade and play airplane shooters, fingers would just keep hitting the buttons.

When I'm in the middle of a game and my plane is about to die because I can't dodge the bullets,

I hit the special move button, which makes me invincible for a few seconds, bombing away with your chosen airplane's characteristics, and then you'll be back to normal.

 

For those of you who haven't played the arcade game, think of the airplanes in the arcade along with the above situation.

 

Verse 1 Build Up (31:56) - Insert coins and choose a character

First half of the Verse 1 Drop (32:13) - The airplane takes off and immediately goes to the front lines (the gmae starts as soon as you pick a character)

Second half of Verse 1 Drop (32:28) - A precarious situation with emergency lights on

The bridge between Verse 1 and 2 (32:45) -  the difficulty gets harder

Verse 2 Build up (33:00) - Airplane radioing about whether or not to bomb (special move)

Verse 2 Fill In (33:18) - Aiming the Bomb (Special Move) & Boss Appearance

Verse 2 Drop (33:23) - Bombing (Special Move) Begins

 

A game that started with a coin that I didn't think much of brings back memories of my childhood.

There's a strange sense of relief when you accidentally beat a shooter as an adult that you couldn't finish because you were short on pocket money and had to go to academy.

 

Themes : Arcade, 1945 Airplane Shooting game, Bombing

 

 

 

 

16 / Stomp - SKINSHIP (Original Mix)

 

“Stomp” | 33:52 - end

 

This song is about walking with authority.

 

Roll up your shoulders and stomp, everybody. Because you're the star of your own life.

 

I usually try for a combination of a heavy arrangement line with a dense but high octave melody(top line), but I didn't think lightness was an effective way to achieve this.

 

The groove of the octave downed melody on a moving bassline is the listening point.

 

 

 

 

We live with the same ideology.

We have different backgrounds, but we share the same ideology.

 

We can't live alone, everything in the world was built together.

 

Ideologies are built on the background of unity and coexistence, but bad blood and apathy are always lurking behind, just like when I stand in the light, a shadow is cast behind me.

 

I think the ideology of music is passive.

But basically, it also requires active “attention”.

The reason why there is so much discord in music in the modern era is because people are exposed to music in so many different places and under so many different circumstances, not because they have different ideologies.

 

I hope my music can help bring about harmony and coexistence.

 

- Ideology, THE END -