K-Interview: O’KOYE (The o2 and IKYO)

Interviewed by: Deena Jasmine, Chikmagalur, Karnataka

Edited by: Jayati Bhardwaj, New Delhi

In the ever-evolving world of music, a few artists managed to seamlessly blend into the role of being the producer, singer, and songwriter masterfully –– and one of them would be the producer The o2 and the rapper IKYO from the dynamic group O’KOYE. This dynamic duo recently unveiled their first full-length album, Whether The Weather Changes or Not, featuring 13 tracks that showcase a unique fusion of genres focused around The o2’s diverse hip-hop influenced style and IKYO’s dynamic performances shine with a mix of flashy style and authenticity—delivering solid and captivating artistry that resonates deeply with listeners.

Join us in this interview as we dive into their creative journey in the music industry:

Could you both introduce yourselves to our readers? Tell us about your background in music and how you became part of O’KOYE. What inspired you to pursue a career in the music industry?

IKYO: The fun and experimental spirit within me and this field inspired me to pursue this career. These two elements have always coexisted in all my works. I base my work on hip-hop and explore various genres, including gospel, soul, funk, etc. I use vocals as an instrument, experimenting with techniques and performances supported by various tones.

My music debut was through the Yizumin project, which was a collaboration between Open Changdong and Hwaji in 2019. In April 2020, I released my debut single album, Drawing. Palo Alto, Huckleberry P, and Nuriko introduced my debut single on the YouTube content p2p, which helped me gain recognition. Later that year, in October, I released the collaborative EP album 23:59 with producer The o2 and engineer Otter.

The o2: I’m a recording artist from South Korea. I’m also a bounce conductor— I create bounce out of anything. I was introduced to music through a local church community I frequented ever since I was young. My father was the director of the church, and my mother played the piano there. As for me, I was interested in music and annoyed musicians, thereby being around them without permission. I always tried to get my hands on the instruments while they weren’t present. Music was among the few things that intrigued kids like me in church. This interest converted into love quite soon and ended up being the inspiration for me to pursue a music career.

I was also overwhelmed by the competitiveness one has to go through in Korean society to get into college. I was a student who always tried to stay in the lane and be secure by it. However, I was devastated when I realized that the competition, which I thought would end once I got into college, lasted a lifetime. I didn’t have the inner strength to persist. As a result, I decided to pursue a music career, which, at the time, I thought I would still be satisfied with even though I happened to fail.  And here I am, a part of O’KOYE– I became one by creating the original Idea of reimagination of Jazz and Hip-hop.

Could you tell us the inspiration behind your recent album, “Whether The Weather Changes or Not”? What themes or messages did you aim to convey through this album? 

The o2: The inspiration was the anger I felt from the repetitive music style consumed as mainstream around 2020 and the desire to create something fresh. As an up-and-coming musician, I have been figuring out what could be new and refreshing in today’s context ever since the beginning of my career. However, when IKYO and I released ‘Jazztext’ in 2021, the admiration and appreciation from the local music scene came in. It was then I had the gut feeling and an idea of developing and presenting what we presented through Jazztext in the album format; then, it might be one of the next new things in the scene here in Korea and worldwide.

The theme and message for this album is an endless, uncomfortable pleasure. With today’s technological advances, my creation process heavily depends on the automated sample systems everybody uses. As a result, music around the globe starts to feel similar. If we are brave enough to study and dig into the essence and vocabulary of music, there are still possibilities that could be found and presented as new in today’s context.

Though I’m still learning music, about this industry, and business– I perform with this in mind so I can take in all the experiences and keep learning and growing. I firmly believe and want to share that if one could have the courage to believe in oneself and work through the process of learning from the extraordinary archive of humanity and add their twist to the craft– something great could be found and created. We’re only a few years old at the party, but we have much more to dig in and space for improvement. With this belief, I’m looking forward to creating more music.

IKYO: My greatest inspiration comes from exploring different genres and experimenting with the music from the archive. For this album, I mainly wanted to deliver a message of hope in a more realistic way by exploring the continuum of times of loneliness or bitterness in life and how hope changes one’s perspectives and approach to life.

Both of you are involved in various roles, such as singing, rapping, songwriting, and producing. How do these roles complement each other in your creative process?

The o2: Since only two people take care of everything, it is easy to navigate the process; our energies match pretty well, and the results appear through the unique creation that combines us and our cultures. We don’t strictly dissect R&R. Instead, we discuss our ideas and see what fits. If I had only worked on composing, I wouldn’t have been able to make music or be as involved as I was in O’KOYE 1st album. As for IKYO, he has experience as a beatmaker; he understands and respects beat-making and composing. Plus, he has a deep and varied archive of music in general, allowing for constructive discussions through exchanging references.

IKYO: It provides a broader perspective of the individual tracks and the entire album. It enhances the album to be more cohesive and the music to be more multi-dimensional.

The o2, as the executive producer, main music producer, and chorus vocalist on “Whether The Weather Changes or Not,” how did you mix different genres with hip-hop to create the album’s unique sound?

The o2: I usually blend more than two different styles. For example, in Look Up, the 10th track of the album, using a Flamenco-type tonal section and Jersey Club rhythm, would be interesting. In my opinion, hip-hop as a sound emphasizes rhythm. As a result, I tried to keep the rhythms rooted in hip-hop and let other parts vary from many different genres.

IKYO, as a rapper, executive producer, co-producer, and chorus vocalist on “Whether The Weather Changes or Not,” how did you manage these multiple roles while ensuring the album’s overall quality and consistency?

IKYO: I don’t think I ever felt that it was difficult. I realized the number of roles I played only after finishing the work. Throughout the process, I was only focused on improving our music, hoping that my creations resonate with others regardless of the diverse aesthetic. That’s why you’ll often hear me rap and sing.

Experimenting with different elements is really fun for me, and it’s my main drive for creativity. One of my favourite parts of the process is listening to the final cuts and comparing them with songs from other artists. I also love pre-arranging the tracklist using demos. Even though there are multiple challenges along the way, I enjoy every part of it. Being able to make music makes me happy.

The album includes many different genres. How did you mix these styles together, and what challenges did you face in creating this unique sound?

The o2: The most challenging aspect was keeping the workflow going. I often struggled to develop ideas, especially regarding specific plans on the action level. I guess this difficulty was due to the higher emphasis on live performance compared to typical beat-making, which mainly involves made-up full-loop samples. Since I’m more used to the latter typical beat-making, being new to this type of workflow made it even more challenging.

Also, I need to actively use my imagination. I’ll provide a detailed explanation to help the readers better understand this. Here are the directions for the songs I aimed to create, listed in order:

1. “Wings” – A blend of bossa nova and trap music.
2. “Look at the Sky” – A mix of Jersey club and flamenco music.
3. “Hallelujah” – A breakbeat-based hip-hop song with a soul music song form.

Since my music archive lacked songs with these combinations, I had to use my imagination to create the music. It was fun but challenging at the same time.

IKYO: Some tracks started with The o2’s suggestion to mix specific genres, but my approach was natural with no overthinking for the rest. As a result, various styles naturally blended together. Rapping within these tracks was both quite enjoyable and demanding. In fact, creating melodies sometimes felt easier than rapping, which is my main craft in music. But the real challenge was figuring out how to make the within rhythms—I needed to familiarize myself with them. Our album actually consists of various rhythms apart from the typical breakbeat.

What was the creative process like when composing and producing the 13 tracks on this album?

The o2: On each level, little planning was involved; it was more like a continuous process of adding and modifying individual ideas. Initially, we exchanged potential sketches and ideas. Then, I would casually hand over 2-3 variations of  4 or 8-bar loops to IKYO. IKYO would take them and try to rap. While rapping, the songs would reform depending on the lyrics, and then he would return the new version to me. Finally, I would proceed with the arrangement.

The arrangement process consisted of 2 steps. One is completing the basic arrangement. Step two is to send it to the live instrumentalists.  Sometimes, we provided them with sheet music; other times, we asked them to perform freely. In either case, the performers accomplished the task quickly and excellently within the given time. Watching their mastery, I realized how huge the world is and how many geniuses are out there. Their remarkable performance made me appreciate the unseen hours of practice and grind. It also made me reflect on whether I am mastering my craft as they have and still are. It was truly inspiring.

IKYO: Usually, the o2 sends me a sketch of a beat, and then I add rap and melody on top of it. After that, I sought feedback and suggestions from The o2; then, we would work on editing a lot to solidify the sketch version of the vocal. Next, the lyrics are written. During this process, the rap lyrics are often already completed. At the same time, the other lyrics are finalized. The o2 begins refining the sketch stage beats into a more polished arrangement. This is generally how the tracks are finished. For example, in “Seoul,” there was a rare situation where I recorded melodies over an existing track, Black Satin, by Miles Davis. After hearing it, The o2 created a brand new beat on top of the vocal, and we continued by recording more vocal melodies and raps onto it. Everything turned out great. It was incredibly fun, and I’m sure we share the same feeling on this part of the process.

The o2: Yes, indeed.

What were some of the challenges you faced while working on your first full-length album, and how did you overcome them?

The o2: I faced two challenges. The first one was related. We had to endure three years with no result and handle difficulty in the craft. The second one was related to emotional challenges. I was incredibly overwhelmed by everything. The process sometimes felt endless, and this caused a lot of distress and trouble. I actually thought about giving up. However, I overcame these challenges through planning and heartfelt conversations with big bros; IKYO and Palo Alto are two among them.

Planning provides strategies to overcome uncertainty. It helps sustain high-difficulty challenges over a long period of time. It creates a framework and value system that helps conquer anxiety and the constant overwhelm. Rather than just thinking, “I will make an album,” it’s more effective to break down the process into daily habits and small tasks. This method reassures you that even tricky tasks are manageable, boosting your confidence. The media often portrays music creation as a mystical process that is only half-truth. The other half is a series of actions with a scientific nature. This allows individuals to develop a systematic approach.

IKYO: I would like to replace the word ‘experiment’ with ‘challenge’ to emphasize that every part of the process was challenging. Dealing with various genres, crafting melodies and raps, and blending everything in the most remarkable way possible was challenging and exciting. It was one of the prominent moments of my music career. Without the O2, it would have been much more challenging at times. Being with him is undoubtedly the main reason that we were able to complete this journey successfully. The other half of what I am today is the joy within myself. I firmly believe that we could finish the album because we both found joy in the process and supported each other.

Could you share a memorable moment or experience from the album’s production process?

The o2: Palo Alto gave me some advice I want to share with the readers. So, while I was at the beginning stage of the album, my goal for this album was to reimagine jazz and hip-hop through the tracks. I was eager and looking forward to creating music in a way jazz musicians would do. However, when I started working on it, I found producing music on par with their skills challenging.

While struggling with the issue, Palo Alto gave me wise words after listening to an early version of “Wings.” He said, “The o2, you’re part of the young generation, so you can show a lot of creativity only young people can. You didn’t live through the golden era of hip-hop or jazz. (The o2 was born in 1999.) You can’t be like them, and because of that, you can demonstrate new music of your own to the table.” This advice helped me let go of my ambition to be like jazz musicians and focus on creating music that only I can make. It shifted my focus from “being” to “doing,” allowing me to concentrate more on the actual craft, instead of obsessing over an impossible standard of perfection. 

IKYO: The support from Palo Alto. He gave 5 million won to our album without asking anything in return. Even if I were someone with a lot of money, I wonder if I could offer such support as he did. Yet, he listened to our music, believed in us, and backed us throughout the journey. It feels almost unreal. I want to take this opportunity to thank him once again.

Could you share one track from the album that personally holds a special meaning to you?

The o2: This is a difficult question since every track has a special meaning. But if I had to pick, I would choose “Wings.” This track marked significant growth in my workflow as a musician. Before “Wings,” my arrangement period averaged around three months per song. Of course, there were days when I took breaks, but at that pace, the album would have taken an extremely long time to release. As a result, I struggled with not only perfectionism but also with impatience.

After “Wings,” my arrangement period shortened to about two weeks to a month per track. Working on Wings made me more confident, which allowed me to complete the album successfully. Interestingly, the lyrics of “Wings” are about believing in oneself, and I experienced the same positive transformation described in the song while working on it.

IKYO: Every track is unique, but since the decision is tough, I would pick “Wings” and “Seoul.” These two tracks in the album hold profound and motivational messages I want to convey to the listeners. While working on them, I worked hard to portray my past and present with all of my heart.

Are there any artists or producers you dream of collaborating with in the future?

The o2: No one in particular comes to my mind right now. I want to work with anyone capable and dedicated. I believe in developing professional relationships and friendships with people I work with to help us become great artists and good people, just like what I have created with IKYO.

IKYO: I’d love to work with George Clinton and Pharrell. I’m also very eager to collaborate with everyone from Soulquarians. Recently, I’ve been really into their lives. No rappers would be on the list because they already satisfy me just by their music. When it comes to producers, there are so many I’d love to work with, including Ludwig Göransson, Madlib, and No I.D. There are countless others; just a few come to mind right now.

What can fans expect from O’KOYE in the near future? Are there any upcoming projects or collaborations you can share with us?

We are releasing something in October. Other details are top secrets right now. Please look forward to it!

Based on your journey, what advice would you give aspiring singer-songwriters and producers looking to make their mark in the music industry?

The o2: I don’t consider myself in a position to give advice. However, if I share some insights I’ve learned from this project, it would be this: if you’re dissatisfied with the current state of music, search deep into the underlying issues within that dissatisfaction. Being Annoyed is the key to reaching your wants and satisfaction. Your very own artistic vision could bear out of it. The role of a musician is to make music that speaks for themselves, not talking about it— Don’t talk about it; instead, make it so that it talks/does on its own.

IKYO: One shouldn’t rely too much on talent but must trust their instincts and keep moving forward. Also, it’s important to only listen to some of the feedback from those around you and to be selective about what you take to heart. I believe this approach is healthier.

The Korean wave is growing rapidly in India, and many fans love listening to K-Pop. Would you like to share a message with our Indian K-Pop fans?

IKYO: Music offers something beyond just language. And I believe that our music can provide that something special. K-pop fans in India can also experience the joy we felt while creating this album when they listen to it. It’s exciting to think that this first step is happening through Hallyuism– us forming a connection with the Indian K-pop fans. Lastly, please listen to our new album and support O’KOYE. We promise to bring you more enjoyable music in the future. Thank you!

The o2: Korea has similarities to India in several ways. Korea was established by people who had lost their country and fought for independence on the mainland and outside. I believe one of the forces that united the Korean diasporas worldwide was the Korean Wave (Hallyu). Although there were no K-pop idols and giant entertainment companies we see today, Koreans maintained their unique identity through various cultural expressions, including music. Today, this Korean Wave has evolved into a globally influential and inspiring culture that we are now sharing and interviewing with you. Korea has faced numerous conflicts in its nation-building process and is a strong country with many brilliant geniuses, just like India. I see now that India’s economy is growing, and I hope that one day, the Indian wave will come. As a matter of fact, ancient Indian religions are one of the essential foundations of Korean Culture. After the nation’s cultivation, I expect that as I have come to you, you will come to me with your creations.

I look forward to collaborating with your people. Thank you!

On behalf of our entire team at Hallyuism, we would like to extend our heartfelt gratitude and thanks to O’KOYE for taking the time to do this interview. Best wishes to their future endeavours, and lots of love from India!