Photo: Kentaro Oshio

• Introduction [00:00:00]
• On Art Direction Workshop [00:01:03]
• Episode Introduction [00:02:08]
• From K-pop to Independence [00:03:43]
• The Role of Solitude and Perspective [00:14:34]
• Mood as a Creative Foundation [00:17:33]
• Where You Are Shapes Who You Are [00:23:30]
• Short Episode Break [00:30:40]
• The Work Routines of an Independent Music Artist [00:31:24]
• Making a Living in the Music Industry [00:44:52]
• Navigating the Highs and Lows [00:52:09]
• How to Be a Better Creative [01:03:58]
• Episode Outro [01:04:59]

Yeohee: We are unconsciously influenced by our environment. I mean, Internet makes this world one. Still, also, it’s so new and so much like ocean. We don’t know where to go. That’s the reason that I really wanted to know what I want and who I am.

This is The Creative Voyage Podcast, a long-form interview show with the mission to help creative professionals to level up. I’m your host, Mario Depicolzuane. I’m a creative professional myself, active in a field of art direction, graphic design and consulting. 

This podcast features insightful conversations with some of the world’s most inspiring creatives, reveals the stories that shape their lives and careers and offers actionable strategies to help you take your mindset and skills to the next level. I invite you to join me on this journey.

Mario: We’ll be back in a moment to dive into the world of independent music with Yeohee Kim. But first, a quick message about our most popular online program. On Art Direction is an intimate online workshop and community that provides insights into the strategies, tactics, and tools of good art direction, and how it can be a game changer for independent creators and business owners alike. I teach it together with the art director and photographer, Armin Tehrani, and so far we have shared this program with over 150 participants.

If you’re looking to refine your ability to collaborate effectively, create visually compelling work, and confidently share your creative voice with the world, this workshop is for you. The next sessions will be held on May 17th, 24th, and 31st, and enrollment will open soon. If you want to be the first to know when registration begins, join our waitlist at creative.voyage/artdirection.

In this episode, I talk to a musician.

Yeohee: Hi, I’m Yeohee Kim. I call myself machìna. I’m an electronic musician, vocalist, composer based in Tokyo and Berlin.

Yeohee Kim, known artistically as machìna, is a Korean artist based in Tokyo and Berlin. Her music is a fusion of personal introspection and collective energy best experienced in the immersive setting of a nightclub dance floor. With a background that spans from K-pop training to experimental electronic improvisation, she blends jazz-inspired modular synthesis with commanding precise vocals.

Her career has taken her from performing at MUTEK Montreal and Berghain’s Halle Stage to being part of Richie Hawtin’s, From Our Minds tour, playing her newly developed live techno set. Her independently released series, Action, gained traction in 2023, with tracks featured in campaigns for Mew Mews and Nike. Her ability to bridge music and fashion has led to collaborations with Prada, Red Bull Music, and Vans, among others.

In our conversation, which was recorded in September 2023, we cover her journey from K-pop to independent artistry, the creative mindset needed to sustain a career in music, the role of solitude in creativity, her approach to music making, the financial realities of the industry and what it takes to be a thriving independent musician today.

Every musician has an origin story, a spark that sets them on their path. For Yeohee Kim, the journey began with the childhood love of Britney Spears, evolved into fascination with jazz, and eventually led to the structured, demanding world of K-pop. Her transition from the K-pop industry to becoming an independent artist is beautifully documented in the Red Bull Music short film, machìna, from K-pop in rural Korea to rising techno artist in Tokyo. Through that experience, she learned invaluable lessons about artistic ownership, resilience, and the tension between creativity and industry expectations.

I began my conversation with Yeohee by discussing the unpredictable journey of becoming an independent musician, including the key lessons she learned early in her career.

Yeohee: Being a music was so natural. I think I say this often. I was just new when I was even younger. But now I’m thinking why I was so into music because I was kind of lonely kid, I think, and I had a lot of time by myself because my parents, my mom was really busy, and kind of stereotype kind of answer, but music was the only my friend. I feel when I was younger, I think I tend to just really communicate music and through music. When I’m listening to music, I feel so much joyful, so much, and in my head, there’s lots of things going on in harmony in some short minute, but there’s so much harmony.

And then I could feel each instrument and I loved singing and just pure joy, express how human can do that with music, as a music language. So, I think that’s really fascinating to me, even from the younger time. It’s a very natural thing. And then I didn’t even try or set on, okay, there was one time that I thought I have to make money when I’m doing music, and that’s why I actually choose to be a K-pop. But in the end, I wasn’t actually—the actual reason that I, you know, making money of course, but that wasn’t reason for being rich or buy a house. It’s not like that just because I wanted to be in music.

So, it was really flew in so natural way and then I just kept being music. From seven, I was listening a lot of genre, basically pop. I grew a really small town in Korea and then there was not many opportunities to listen, so much diverse music at the time. I loved Britney Spears, like the pop singer, then you can just turn on TV, MTV basically. But yes, I really liked it. But I also loved Korea traditional music, like actually taught myself pansori called like traditional singing in Korea. So, I was very into just melody, I think, and the sound. Yes, I was like that. 

Then, obviously my mom, my parents, doesn’t really want me to be in this—they’re really in a way, no more way. They want me to be no more part. I don’t know how to say, I don’t want to be typical, but just they think being a musician is really risky, but I had to fight for it. So, I don’t know how I fell in love in jazz, but somehow I got so much into it from high school. And then at that time, I was, you were a high school kid. And then you were against every music besides jazz. Jazz is the best. I was like judging so hard. Like, keep up kids. I was like really, super, those kids are like having a trouble time, but I was so into jazz. And I was just like, jazz, the top music ever.

So, I was really kind of strict. Yes, I don’t know. I was really into jazz, and then that makes me feel like, okay, I really have to make music. I confirm myself because other thing except music, I was always get bored. My mom tried to send my—anything like taekwondo, or like swimming school, also studies and everything, but I always get really bored. But music, is the only thing I would just go practice every day, every single day. Then there was also confirming myself that I can, I really have to do this, and I really love it. And then I was getting to jazz so hard. And then I studied hard, really go every day. I almost like skip the class and just go to academy just being in a small room, because I also really into kind of soulful jazz singer, singing style, and then because I thought also maybe I have a different body shape so I need to practice more. I was a little weird thinking.

One time when I was like maybe eight months, I was trying to just singing one note, let’s say, C, correctly, different way of singing. There’s a little breathy singing or like thin singing high note, low note. That level of like practice was every day was almost one whole year and then hardcore really. And then, I know that I have to be in music but I didn’t know how. I didn’t know how, because obviously in my whole family, I was the weirdo. I was the only kid saw into this entertainment scene maybe and then I thought, “Okay.” Because all I could see was K-pop. I didn’t, at the time, really, it’s hard to find soft characters. I don’t know, maybe I wasn’t really well informed, but I thought I had to be in K-pop to be in music.

So, yes, I started to get auditions when I was in a jazz school. And then I got it, and then I was debut in K-pop, and that bring me to Japan, and that’s how it begins.

Mario: Would you be open to talk a little bit more about that transition?

Yeohee: People get so much interest in my background as K-pop because obviously, 10 years ago, no one interested about it. But now, first of all, I’m so grateful because it is very unique market and successful. Now, everyone knows how successful it is, the market is, and I’m so glad that I get to talk those all business part of how from the music to the marketing, basically. I think that experience actually makes me so much stronger in my position as an independent musician, because as you said, to begin with, everyone is a creator but it is different part of being a creator and sell your creative products. It is product, I feel. Then, I learned so much about it when I was there and I saw so much.

Of course, it wasn’t really all good or bad. There was always good or bad side, but the one thing I learned how works marketing and how to present yourself, how to be, even smile at the time. There’s one strict thing I had to change myself because I was from the countryside and I had a little accent when I’m speaking Korean, and then they think that’s not very cool and I had to practice like speaking sounds like other person, basically. It’s funny but yeah that level of deep, deep, I don’t know, controlled, controlling.

Yes, it was tough, of course, but I’m glad that I did it and I got out. I’m doing my own thing that I really love.

Mario: It sounds like you obviously kind of went with your, I guess, heart or your gut and kind of followed your passion. While you were doing that transition, it could be just before or as you did it. If you can like go back to yourself and give some piece of advice or some words of encouragement to yourself. Is there anything that you wish you maybe can just can just send back in time?

Yeohee: No. I think I did my best. And at the time, also, I knew it that this is necessary because my position, I didn’t have any support at the time. I just really had to get through myself because my parents, obviously, it was glad that they said, “Okay, go for it. You do whatever you want.” And that was a big permission and obviously, there’s no support. I just really have to trust myself and I just have to find my way and I had no one. So, I really had to do my best and I did, and I’m glad I did it.

So, I have no regrets, to be honest. And obviously, the music business in Korea when I was in K-pop wasn’t really musical. But in my whole heart was just only full of music and I had to fight for that moment. There’s one time I have to go on television just being a panel and this whole day, 11 hours whatever, have to just smile there all the time. And then if you feel, you look tired, you’re out because the producer doesn’t like you anymore. Those times over and over.

Of course, when I was sitting there, I was thinking about what am I doing here? Because I jump in this industry because I love music. I wanted to be a musician, but why not make just music, not doing this whole bullshit? I don’t want to please people just to be there and then just being a object for them. That’s not me. Of course, not me. But I also knew it when at the time, I just have to spend this time and this is process. I was strong enough to trust myself that this is just process, and then I get through this.

Mario: Yes. Let’s say if there’s a young musician who is starting out and they look up to you and they look up to your independent journey. Is there any advice that you would give to a young person, like a young musician, going into the music industry today?

Yeohee: Be open. It’s really important. Then also, be kind to others. Because in the end, I do believe that creative thing is through us and being an individual, unique person, humanity we have. And we have, every person has a different past, and histories, and times, and relationships, and everything. And that’s so, so unique and really needs to trust that. But with that, with that God and have to be really open for it. And then also be kind, because otherwise we need help. We need support to become better, actually, and be spread because basically human being cannot live by myself, all on solo. Communities, I mean we need a dead mother and then a child come so that’s whole ocean is from togetherness and I think we have to really aware that and then get support. Then if you get a proper support, you need to be kind to others. I think that’s really important.

Creativity flourishes when we allow ourselves to be open, to influences, to change, to self-reflection. Here, Yeohee shares how solitude has shaped her journey, allowing her to tap into a deeper understanding of her creative instincts.

Yeohee: We are really stuck to our past and our memory and thinking, but each object and every time and every experience can be different breeds from each person. And then, I think, to be able to unlock those ego, maybe, I would say. Our thinking is locked our body, right? So, to be able to open that is really create so much opportunities, I feel. Be open, really just try to see every direction of even one that can be really, even one cup can be different things. Also, all objects named by human being to be convenience, but that can be different. Be that kind of level of just simple thing, simple thing can be really open up. So, I feel to be creative and be original that I really valued. I think that’s really important to be open.

Mario: Is that something that comes natural to you?

Yeohee: I wasn’t really like this before, but I actively made time by myself and tried to conversate myself, and that was actually really deeply connecting with my album called Compass Point and I was isolated, everything. I didn’t go out. I rent a house in Hakuba in a mountain and then I made my album there and then I learned a lot. I think I really wanted to communicate properly to the world, to me. And I was always questioning the reason I was born. 

That was actually from the kids. I was lonely, I was always alone, and then I was thinking a lot about the reason, the human being in presence, everything and times, things is everything come free, those deep things. But using music as a tool, I think I really have to one time get the deep, deep conversation with myself. I actively made that time with me, basically. That was really nice. I highly recommend that. I think every human being need that time because right now we are hyper, information is just like hyper. So much things that going on. Back then, we were living really simple life, but now we have so much information and like the world is one now. I mean, we can call like this in no effort and then this is crazy, this is really modern things that we are dealing with, and I don’t think human being even, especially mentally, not ready. The Earth, of course, not ready that’s why this Earth is sicking. But I think we have to be really careful what to receive, what to say, no, yes, and then also deeply knowing yourself first before conversing other and before express whatever it is.

Korean philosopher Byung-Chun Han writes in Vita contemplative, “Mood precedes any activity, and at the same time it is determining for activities. Without us being aware of it, every action is a determined action. A mood thus represents the pre-reflexive context for activity and action.”

I’m curious about how routines shape a creative’s work. So, I asked Yeohee what matters most to her. She shares how for her, setting the right mood is essential, something she explored deeply during the creative retreat that shaped her album Compass Point.

Yeohee: When I tried to create music, I first set up the mood, out of fear, to myself. So, I think it’s really important because it’s really react me and effect me a lot. And then with the mood I act. So, I borrow Kevin in the middle of a mountain called Hakuba in Japan. Maybe five hours driving from Tokyo. So, I basically bring all my gears and set it on my little studio there and then for a month I decided to not meet anyone, so I bought a lot of packed food also because I didn’t want to go out. I mean, it’s not that I didn’t want to, but I just had to do it. I just really needed to attach to others. I mean, just like just being myself solo time and I want to try myself and see what happens.

Obviously, my music making style is with lots of hardware is involving, so I turn on the gear, the first day, and I decided to repeating myself, “I’m not going to never turn off this gear.” And then just live recording every day. But of course, I had a weekend time just by myself and I had like a little—I was also doing yoga because I love yoga. Every time, weekday I work but not super strictly and I also bring two books that I really love. And these books were really highly influenced my album called Compass Point.

One was The Red Book from Carl Jung. And then one was the Cosmos, Carl Sagan. So, it was like an inner self and the universe to see the thing as a whole. That was my concept. And then also, I do believe that ourselves is a whole universe also. So, I wanted to connect that as these two books and just being solo like a month, not meeting anyone and then, yes, just making music and try to know myself basically what do I want. At that point also, my musical journey was, I wanted to really set my direction clearly because from K-pop to become electronic musicians, and I knew that my music is a bit of an influence everywhere, because I was in a pop scene and also singing. But I was really highly involved in this modular synthesizer and this sound sectors things and I wanted to set my source somehow, not particularly genre, but I think it was a time that I really have to set up myself and set the direction of my music.

I liked it because it was deadline too, because I set up the date, 30 days, a month. And then I had a deadline so I can keep pushing myself also, organize time and then keep communicating myself.

Mario: Then did you actually make the whole album in that month?

Yeohee: Yes, I made a whole album there. Actually, one EP also. I had a lot of time. And the latest, [inaudible 0:21:16]. But my style is, sometimes I make really quickly. So, I’m quick worker, I can do really fast sometimes, so it was really a difficult thing, but I have to really focus. I did really focus and just do it. Make it happen. But I didn’t mix in Tokyo house because Kevin wasn’t really soundproof. I wanted to properly mix it. So basically, the composing part was all, everything was there.

Mario: It sounds like it was a really good experiment that you did. Was it like kind of only good or meaning it was just like felt exactly what you needed? Or was it kind of like, I can imagine being for a month by yourself, it can probably have very different experiences and maybe highs and lows. So, I was curious, how did that go?

Yeohee: It was exactly what I needed. And then I knew it, this is also investment, right? So, I pride myself well because I bought a nice one, with the nice mountains around me. I said, well to myself, it was also to me as a—you can think about as a vacation also, right? But the only minus point was the food. I wish I had a car or something so I can drive back because the even little supermarket was so far away. I couldn’t reach, so in the end, the last because I just had to only eat like frozen food, I really want some vegetable. Then, beer is running out. I was like, “Oh, my God, I want some nice beer.” That was only minor parts, except that it was really needed time and I loved it, and I’ll definitely do it again.

Mario: I really like how you mentioned those two books that you brought and how they relate or connect to big parts. Did you read those books before and now you just took them with yourself, or was it the first time that you read them?

Yeohee: I planned out after I booked this Kevin album making plan. I love philosophy, but I was curious about and actually bought for this time. So, bring it and then just open it at first day. I mean, obviously you need some advice, good advice, not random one, good one.

In the story of Compass Point, a short film about the album, Yeohee reflects, quote, “By being so isolated, I could further analyze how where and why are so intertwined and where I was had a lot to do with who I was.” 

Yeohee uses her time in seclusion as an exercise in self-discovery, both as an artist and as a person, understanding oneself, challenging assumptions and embracing that discomfort of growth are all essential, not just in music or creative work, but in life itself. Here, we explore some of those topics.

Yeohee: I do believe we are unconsciously influenced by our environment. And that’s so much powerful, but we are not aware. I think that’s why I was also decided to just be by myself, so I can just choose whatever I hear. And so much, this Internet, I mean, Internet makes this world one and I’m so grateful. Without it, I will never happen this machìna, I feel. But still, also, it’s so new and so much like ocean. We don’t know where to go. And then all the environment is feeding the media, especially living in a city like Tokyo. Just so much information surrounding me that I don’t want to know. And then that somehow influenced me and then somehow shaped myself, so much shape that I don’t plan. But of course, nothing is to plan, plan, but I wanted to leave right, it’s one thing, onetime thing, and then I want to do it right each time, each day. So, back to the point, that’s the reason that I really wanted to know what I want and who I was, who I am.

I think if you be able to do little touch about understanding, of course you cannot know everything, but then maybe you can plan future better, and then you can decide better, and you can maybe understand more others. Because I think in the end to be able to understand yourself is actually the first step to understand others, because we are basically same. I think I really do think so. Then sometimes, the most human struggles also, relationship, like human to human, even from family to stranger from the convenience store. But everything is in relationship and I think I wanted to make this relationship correctly also in the first step really I have to know myself then I can question it right. The question needs to be right so I get answer correctly.

That was the whole thing. I mean, it is really actually connecting, define myself. It was all about it because I made music through me. So, I need to know these tools, hardware first.

Mario: I think that’s beautiful. But was there something that, let’s say prompted you something that was a reason that you decided to do this that you felt like, “Okay, this is, now, I have to do this experiment?”

Yeohee: That’s the reason, one, is music. I think this is also kind also kind of part of my trouble. I am now dealing with kind of troubles and balance between musical myself and myself, I feel. Because in my whole life, my first priority was music and it is now. Then, I decided to do that because I really wanted to be a better musician. Then I knew it because I had so much experience and I know I can sing. I know I can perform. I was pop singer. I can really actually be object to the one variety show that just be pretty there. And then I know, so I can do it handling it. And then I can adapt other situation. I can be daughter, I can be a sister. I know I can do it. But I have to really tuning, frequency tuning actually, to next step, because I feel this is a time to get better outcome from me. And I was excited to get to no more. That was the reason that to define my musical direction was the reason.

Mario: I mean, obviously, there’s the result, the music. Is there any, let’s say, revelations or any aha moments that you had about yourself? What did you, let’s say, learn about yourself and about your direction after that month?

Yeohee: I think I confirmed myself that in a musical direction, I think I confirmed myself that I want to keep singing to have a voice in my album. Because I also made this EP called Trust from UTTU, which is like really, rarely not singing, just sound. I was in between because being an underground scene in Tokyo as little sort of singer, electronic. There’s no scene. I think probably only one, probably UK has it. But as an independent artist, becoming like that, you need proper branding and everything. And also, I’m a foreigner here. I’m Korean living in Japan. 

So, I was having a little difficulty to making that type of music into the scene, to be honest. That was also part of the reason I actually switched my direction to this more dance music because there’s a club. Then, of course I love dance music, but still that was actually kind of major reason that I switched to myself, also kind of practical, to be honest, and also loved. I mean, I met modular synthesizer. I fell in love and I just loved just touching and spending whole day, and then often that maybe don’t need a voice. Some critical sound and textures you want to hear, maybe voice really not necessary sometimes, and it’s too much abstract. There’s sometimes, larger time, no code, no extra structures of it. It is pure experimental and to sing on top is not ideal, maybe sometimes, but it could be anyways.

But I was really wondering around which direction. But after that hardcore conversation myself, I confirmed that I want to sing. That was actually big to me, and I will.

Mario: Because now, actually you made some music recently. Also, this summer you released a few singles which are way less about singing.

Yeohee: Yes. I am also simultaneously making another experiment. No, actually more pop I feel. I think I like to call as a pop music. But good pop music, there’s a lot of my music. But with more serious singing, maybe can be slow song even, just purely talking myself and singing focus.

Mario: So, you have kind of two expressions and you divided them somehow, but all under the same name, right?

Yeohee: Yes, I mean, that’s also because we all have two alternative identity, don’t you think?

Mario: Yes, or more, I think.

Yeohee: Oh, yes, more. I mean, more is better. So yes, that’s me and that’s me too. Oh, machìna.

Hey friends, we’re in the middle of this episode, so it’s time for a short break. If you like this podcast, I’m confident you’re going to enjoy The Creative Voyage monthly edit. Every month, we ask a new creative professional to curate 10 brief recommendations, including books, articles, products, videos and podcasts, which serve to inform and inspire, and we deliver them exclusively to your inbox. It’s a newsletter curated by creatives for creatives. To sign up, visit creative.voyage/newsletter. Thanks everyone, let’s get back to the show.

For musicians, work is not just about making music. It’s about managing time, energy and priorities. And most importantly, the act of putting work into the world, despite its imperfections, is what moves an artist forward. As said, going wisely observed, we become creative when we ship the work. Here, Yeohee shares her routine and approach to creation while balancing the practical demands of being an independent musician.

Yeohee: I think let’s go back to the big picture that I was talking about earlier. I set the mood and act and set the deadline, and that’s also reflecting daily life between two—when I wake up, I make coffee and I clean. I really need to set a mood for my work, and then I act. I starting to make some sound, but I really don’t push myself too much because I think good mood is the best mood. And then when I’m making, if I don’t feel like it, sometimes I just don’t. And then that’s okay. I mean, actually earlier time, when I was especially really young, when I was just got out from the K-pop industry because I didn’t allow myself any resting time. I was so just so used to just working so hard every day. So, I was actually super strict about myself before. This was actually before machìna. I was—I didn’t drink at all until 26. I was just super strict, just focus on what I do.

But when I moved to Japan, I started to learn more cultures and I met this beautiful synthesizer and all others, changed the mood. Then, I allow myself a little bit space for it. So, yes, it was kind of funny, and I also tried to spend more Yeohee time, not just machìna time, but I was always just kind of workaholic kind of vibe. But now, what machìna does, my daily routine, I just really go flow. 

When I have the deadline, I really set the deadline, I just do it. Then, when you set the deadline, you have to keep your word, and then, that’s really important to me, just promising myself and keep the word. So yes, I think, that’s what I do. Inspiring things comes everywhere. Then, when I was only good mood, it’s only good sound. When I was in not a good mood, you try so hard. But sometimes, when you have to finish the next day, you just accept and posting it, it comes.

Mario: I mean, it’s a fine balance, yes. But I like the framework of like mood, act, and deadline, because I think that part really makes the whole difference in the end. In some way, it makes you a professional. Then, you’re actually shipping something and showing something to the world because you can have a mood, and act, and never release anything, and never share. 

Yeohee: I also learned how to accept myself. I mean, I know I’m not perfect, but I also try to be really close to perfect. I am a perfectionist, really, but I know even though, when I think this is perfect, but it never can be perfect, because there’s no defined situation as perfect. It’s a different thing, but I accept it.

Mario: I feel like there’s two big parts, I think, especially in, let’s say, music industry. There’s creating the music, and then, there’s the promoting, and even performance, maybe even three parts, kind of big parts.

Yeohee: Yes, yes.

Mario: So, I’m curious, how does that play into your routines? Because it must be very different. How do you decide, like, I mean, I assume you have maybe more of a creative process, and then more of a promotion process. But how do you navigate that? Because I assume also, while you’re creating something, let’s say, now, something new. You still have performances, you still have something else to promote as well. So, I feel like a lot of things are probably mixed together. How do you kind of balance or juggle all of that?

Yeohee: Struggle. It’s really, really hard to balance that. That’s why you need a team. I am just managing it, I feel, but sometimes, I miss the email, but I’m trying my best, trust me. But that’s really hard, especially, I’m doing everything by myself, and just not enough time, and not even—and those different talents, I mean, you cannot be everything good at it. But my dream will be getting a proper manager, actually, because I do think you really need it to just focus on what you do. But maybe, really set the limit, I tend to. So, don’t say everything yes or everything no. That’s also related to actually knowing yourself first.

I think, really, choosing the work and who to work with is really important. You have to really understand the value on it when you try to choose something and do collaborate, whatever. Especially this day, it’s just really easy to collaborate anything. Just one DM can be done. But that’s how that is easy, but you cannot take it that seriously, I think. I do believe that you have to choose a right person to work, right person to communicate, right platform media to communicate.

Mario: Let’s say, on your average day, or a week, how much time goes into working on music versus answering email versus preparing for an interview or, I don’t know, working on the performance or DJ set. How does that look in like day to day?

Yeohee: I see a lot of more practical, scheduled, great musicians that I admire a lot. But I’m kind of rough. I think not a rough, but I—because I don’t want to get stressed, that’s the last thing I want to feed myself. I love my life without alarm. My life has been no alarm, only flight, maybe. I think this free mind also gives me a lot of smile, and then kindness, and I like to keep that. So, I am not that practical to be honest, I feel, honestly. But when I do it, I mentioned it earlier, I set the deadline, I made it happen. So, that’s the one thing I keep, because that’s also a promise in myself. I miss that, I’m going to lose trust of myself, and that circle is the bad ideas. Then if you want to keep doing, you have to trust yourself first, and you have to keep the word to yourself, the first. So, I do that. If I promised, with me, I keep it, then kind of value it.

Mario: Yes, there is like a lot of practicality in that. I mean, even in the practicality of coming back to the first part, the mood, because I guess you know yourself, and you know from which space you like to create them. I think most of us are like that, but I think the whole issue is most often that, it’s just life. There’s all these different practical things that we have to do, and we just go down some path. Often, it’s like some financial issues and so on. We are almost not able to influence our mood, but I think, it’s actually quite practical that, if you know that you like to wake up without an alarm, you have to be in a good mood, and that’s going to make you create. Then, when you make a promise to yourself, you fulfill, it’s a very, I think, actually sounds like a really healthy process. It’s not like the usual productivity framework that like a lot of people are pushing, just like get as much done in a short time, because that’s one thing. But this seems to be a much more kind of holistic or human.

Yeohee: I like to keep the quality of my life. Then, one thing I also wanted to add on my routine, when I finish the deadline, I always give myself present, like anything. I go to massage, really, good one, have fun, and I go to drink, and I cuddle my cat all day after I finish my deadline. I definitely do it. Then, I feel good. Again, I’m ready to go. Next mood. 

Mario: I think, while we’re on the topic of routines or kind of this more, let’s say, practical part of it, besides what you shared, is there any other, let’s say, work rituals you have or something that you know that gets you in a good mood or something that you do either in your studio, or on day-to-day, or even maybe before performance? But any kind of, let’s say, rituals that help you be in that mood.

Yeohee: Yes, I exercise a lot, not a lot, but I really try to take care of myself, actually, physically first. I think, sometimes, even mental cannot follow, but I try to act my body. Even try to go walk a little bit, just be in the sun. Those little things, if you give yourself, it’s a much better outcome, I think. Basically, the mood change. Then, when I’m in a bad mood, I try to quickly change the atmosphere. So, maybe, going out, or maybe one-day trips, or just change the environment, everyone always helps a lot. Then, yes, drink beer.

Mario: That’s like an easy advice to take.

Yeohee: I mean, have a beer, why not? You know what I mean? Just the things that you like, just feed you. It’s just like, yes, you have to know what things make you happy. One beer can make me really happy, and one cuddle with my cat makes me so much happy. Then, also, you know, things that I really cherish can be anything. If you know, that just do it. I mean, you’ll feel good.

Mario: One thing that I think a lot about and that I talk a lot about with guests on the podcast is growth, just personal growth, or artistic growth, or growth as a creative. That seems to really be one of the kind of—from what I’ve learned so far in my, it seems to be one of the most important things to just feel like good, or going to satisfy it, is if you’re growing or developing in some way. There’s things that you have to do, the music, there’s the performance, there’s the emails, there’s all those parts, and you can just keep doing that. But beside that, there’s a part of you developing as a musician, as an artist, and so on. How do you approach that? How do you make sure that you actually don’t get lost in all the things that you have to do, but also, take care of the other part?

Yeohee: This summer, when I spent in Berlin, I didn’t have much work because they didn’t come. I wanted to, actually, but because I am not well-known enough there. But now, I have a lot of schedules going on from actually this point to end of years. But this time, because I have a work, I’m just doing it because that’s what to do, it’s work there. But maybe you were questioning that when I’m not working or when I have to drive myself without being a musician, I try to also schedule really hard. Like I said before, in a mood. 

I actually go yoga every day, and when I was in Berlin, I had like strict rules. I discovered this aerial yoga, which I loved, into so much. Then, I go aerial yoga Wednesday, Friday, and then Jivamukti yoga, Monday, Thursday. Then, Tuesday, after yoga, I go to sauna. Then, weekend, I party. That was my routine. I mean, sounds like heaven, but I also get really stressed about not having work. But also, if I’m not doing it, I feel so down. I know if I’m not moving my body, I think too much. I started questioning myself, or even all these things that that’s not healthy.

Then, I know. So, when the rate comes, you need quiet time. Of course, I doubt and I question. I mean, I’m a human being, of course, sometimes I feel really down. But I know if I exercise, and that’s also, you’re doing something good to you, it really helped me to get through. Basically, you have to get through, just get through. Now, I’m busy. So, there was just nothing. It’s really hard to maintain those feeling and the mood. The hardcore, self-understanding time was, also really helped that I have more control, because I understand myself. I know what things good to me. I know what things makes me feel good. Then, I use those elements to me when I’m having a difficult time, when I’m trying to control my mood. Then, that often really helps a lot [inaudible 0:44:01] communicate yourself.

Mario: Yes, I guess it is basically a lot about self-knowledge, and then paying attention to that. Then, you just have, I guess, the older you get, I mean, time is moving for all of us. So, we have more history to look at and analyze, and see what works, what doesn’t work.

Yeohee: Of course. Then, I think, during that time, I think it’s really important because you lost and you got confused, but have to really focus. I mean, when you’re having a difficult time, you tend to just kind of, you can collapse, even mental, your direction can collapse, can be shaking. But the thing I really try to keep on is focus, focus on things that you really want and you have to want it.

Money is often an uncomfortable topic in creative fields, but financial sustainability is crucial for every creative professional. I’ve asked Yeohee about how she manages the financial aspects of her work, and the strategies and tactics she employs to stay independent in today’s industry.

Yeohee: It is very important to first value yourself correctly, and then, see yourself correctly. Not just from your perspective, from others also. Then, also, you have to understand this market too. Then, maybe other artists, right, too. I mean, there’s a lot of things to understand and look up for it.

I’m lucky enough to be feeding myself at home and being a fully musician, but it is a struggle, there’s so much struggles there. Then, I think my business, I don’t know. I’m doing business to be honest, because I really choose what I actually tend to want to work with. I choose work, who to work. I try to understand, if I’m not going to value myself, no one does. I say it, actually, directly. Whenever I have to negotiate, and often, if the fee is not right, I feel to me, then, I say it because I work hard. So, I actually say directly, really in a humble way. I am very humble. I want to negotiate, because I know how much effort I’m going to put on. Then, I may not going to sell the tickets as much as famous number of people, but I value my work, and I know myself because I’m doing it. 

Actually, I say it super honestly, and I think that often works. I just say how much you value it, and then, yes, if you are a true to yourself, that works. Because in the end, it’s human communities, conversation.

Mario: How is your income as a musician distributed at the moment? What are these elements? I assume, there’s concert, there’s record sales, there’s streaming, there’s partnerships, there’s different things that you do on the market to get paid. How does that work? How does that play out?

Yeohee: I think, mainly performances, maybe most high income, I feel. But I am also, I’m having really lucky positions that I also related a lot of fashion brand. Then, that often had a little more budget to other, let’s say, club night, or weekend gigs. So, that helps to me, it works okay, and I have to keep going. Basically, of course, this is not sudden salary or anything, because I don’t set alarm. If I want that to happen, I need to set alarm first. Then, I choose my life this way, and then, that pressures I also have to carry on, and I understand that.

Like you said, because I don’t have an alarm, I’m 24 hours working. I check Gmail all the time. Then, every time when I go out, I communicate. I actually set my mood a little bit, change when I’m in a business mode or a friend mode, I tend to do that, to be honest. I think that needs to be done when you’re also independent, because you have to be your manager too. So, I already did, I’m doing it, I think, just naturally.

Mario: Is there any money in actual record sales, or streams?

Yeohee: Penny, because I don’t have like high highlight of number of plays or anything. I am not actually value for it, to be honest. I know numbers looks fancy, but what’s the meaning for it? I mean, that’s maybe just—I know the actual fans there, but often, those crazy zeroes means you played in just restaurants. That doesn’t mean that people actually listen to their music, just creating the mood, that’s it. But also, that’s really important. But to me, real listeners value, I value them, and they are coming to my concert. So, that’s more important to me.

I understand that the numbers are super attractive, and probably important, but I don’t want to say important. There’s real relationship. I know every musician has this relationship. Yes, in the end, you know, it is what it is. It’s just business thing. Then, actually, if you try hard, you can make it fancy. But why? Why? What for? Really? What for, basically? So, yes, and the music selling, actually, because I press record every three album, two album, three album. Actually, minus. I mean, because I pay every record, and then, I don’t sell any—I sell by myself, and I don’t have any shops or anything. I’m just waiting—not waiting, but if people like my music, they contact me, I sell. If not, just hear.

Mario: Yes, it’s very, I think honest, and very humane, and very engaging way to do things.

Yeohee: This is my honest opinion, yes. 

Mario: Is there anything else, or you know, I think when it comes to, I guess finances, like do you ever get commissions, make a custom track for this documentary, or for this runway show, or like any other stuff, or merch, or I don’t know.

Yeohee: When I really got into this analog synthesizer hardware, and they’re really expensive. They’re not really cheap and they’re rare. But I really want it, I really wanted to try out my first custom Eurorack synthesizer, which is tend to, obviously, basically start from, I don’t know, $10,000 or something. It’s not just coming from the sky. Then, I get this job from this cosmetic brand called Shiseido. They had a lot of budget to actually make short documentary of my story. Then, yes, I mean, this is all really lucky, just my lucky story, but this is how it works, how I start. Then, basically, I did modeling for them. Then, commercial for their skincare things and lipstick. Then, they pay me good. Then, every payment I got, I bought the modular synthesizer. That was the first modular synthesizer I ever bought. That’s how it works.

Every payment I get from, I mean, I like them. I also choose them. I mean, I see the value, and then, I don’t really just commercial for everyone. I’m also, very lucky position as a, I don’t know, this scene in Asia tend to have more commercialized scenes here. Because I understood that in Europe is not very often happening, which is—I learned a lot this time. I didn’t know this was a really special thing. Then, I’m in a really lucky position that I can be able to do that. Then, basically, I just spent investing everything to music, making record, everything just from there. So, it’s coming up, coming up, coming up, or still rolling.

No creative journey is without obstacles. At this point in our conversation, Yeohee shared some of the biggest challenges she has faced so far, from self-doubt to industry pressures, and how she continues to evolve and push forward.

Yeohee: I had no doubt that I’m going to be in music. I never doubted, and somehow, it’s just there. Then, yes, to support that feeling was a challenge all the time. Then, whenever I feel a little shaky or had a fight a little bit, I know you want to be in here, but how are you doing shit? You have nothing work to do. Those times, always. But I am also very lucky that I had always, at least even one person that really trust me, even though when I’m not trusting myself. Everyone has that friend. If people think they don’t have anyone, then, actually, because they’re closing down themselves. You have to ask and be honest, and just tell that, “Hey, I’m kind of starting to doubt myself. I feel rough, I’m tired.” Then, your family or your friends definitely supports you, and then, they give you big blanket and hugs. Sometimes, one day, that’s okay.

Then, yes, I had a lot of time, moments that I feel I never give up, but like, yes, this is hard. Yow, this is limit. Yow, this is like limit. Because, actually, when I got out of K-pop scene, when I was 23, 24. When I was in Japan, my Korean company got collapsed. It just disappeared, paper company. Then, they didn’t let me go. So, all my work got through their bank account, and I didn’t get any income, and I was still in Japan. That was hard.

When I was 24, I didn’t know anything. That’s why I actually had to quit all the contract with the Universal Japan. Because they see me as a value, so they never let me go. Then, there are two bosses, and this is a personal story, but like that hard level, I got through. Then, young myself, I was looking for like a lawyer. I had to deal with it, and I had no money, and I had to ask my friend. It was a tough time. I mean, I had a lot of difficulty going ahead, but each time makes me really strong. Then, confirming also like how much I want to do this.

Then, at the time, when I had to get through this, and I had to come back to Korea, and then I had to deal with this contracting, because obviously, it doesn’t make sense. Then, this Japanese company and people trust me that, “Yeohee, maybe you can come to Japan, and then, let’s do it again.” Then, that actually makes me feel like, “Okay. I can move to Japan, and then, maybe, I can start over again,” and that’s how I actually do machìna thing. But in the end, I was never afraid to stay open, also. Then, I know, little help will help, and makes me keep going, because I know so, there is there. I’m not going to give up, but I just need some hugs, little support. There’s always people there for you, I feel, if you open up. 

Mario: But then, do you have any challenges at the moment?

Yeohee: Actually, I just briefly mentioned it before, in summertime, I was kind of like, “Whoa, I don’t have any work. Oh my God. What can I do?” Because I switched my style hardly this time to releasing this action thing. Then, before action, my style now is kind of totally different in different scene. I feel my scenes been changing, because before, I was more like experimental scene. Then, I also felt a little limited market there. Obviously, I made this change because I find myself, I am really enjoying this dance music while spending time in Berlin a lot. There was also influences, and I want that.

I mean, I actually choose to get influenced, especially, specifically Berlin. This was actually planned out from 2016 when I was first visiting Berlin.

Mario: Oh, wow.

Yeohee: I was like, yes. So, when I first visited Berlin 2016, was to participate in Berlin Loop from Ableton. Then, at that point, I was about to release Archipelago, it was like a building of machìna itself, basically. Maybe I didn’t even name it machìna, just like I had an idea that, okay, I’m going to produce everything by myself. I have to learn this process, otherwise, I’m not going to play, and I want to know. Then, I was slowly, you know, building up and get ready for it. Then, I wasn’t sure about that, my ideas. But when I was there, I meet so many beautiful souls that are so much, that was saying, maybe just like myself, I found so much reflection there. Then, there was like super important moment to me that, okay, I can do this. 

Then, the thing is, this year, July 2023, Ableton kindly, I mean, they booked me actually, 2020 as a speaker, and performer. But obviously, everyone knows the reason, it got canceled. Then, Ableton kindly bring me again to give me opportunities to talk about my story and my musical career. Then, there was a whole loop that I made it. I feel like when I did that, I speak with the team. After that, we just got best friends. I mean, I’m going to meet them next month, first of all. They’re just beautiful people. But sometimes, I feel like, because I love music so much, I know, I mean, there’s one thing I kept and hold, never give up from seven years old. But sometimes, this makes it’s so hard, and struggles, and never get answered. But the moment I actually did the loop day, I feel like this is the answer, and then, music gives me—this brings me everything.

That was a huge moment to me, and I feel like, after that, I always wanted to challenge the city, but I knew I wasn’t ready, just knew it. Then, 2020 and from last year, I was spending more time in Berlin and European cities, and then, I meet beautiful people. I met amazing people. Then, yes, I knew it, I want to do it, and I’m slowly processing it. Maybe I was planning this thing. This is actually the one song called Reboot from the first album, Archipelago. That lyric in Korean, I am in singing Korean, specifically to the battle, actually, to the European city, rebooting there. This was kind of beautiful kind of loop to me.

Mario: Yes, like a full circle moment.

Yeohee: Then now, I know this is a new chapter to me. So, because I was changing my style a lot, of course, I need to look a whole other scene. Right now, it’s techno, obviously. But there was a gap. This half year, I didn’t get much opportunity that I normally get, to be honest. I was a bit worried. So, at the time, I kind of feeling, actually, kind of nice time to actually reflecting as a human being, because I was always running from 2016 or 2010 to ‘16, ‘16 to here. I was always focusing my musical career, except anything.

But at the time, first time, I’m thinking, “Okay, what if I’m not musicians. Who I am?” Those questions, I never even thought about. I started to question, which is really important? Then, also, different lifestyle I learned a lot in Berlin. Then, just starting to think about all, try to finding balance with my personal life also, finally, because my first priority always was just music, and never give myself enough time to do others. I was for the first time, this summer, actually, I kind of struggle about that to finding my real me, not just musician Yeohee. Now, I’m still actually like to find balance, because times go, and then, we’re not living here forever. But I also know the timing is important, those balance, actually. Now, I’m trying to think more practically how I’m going to do it right and well.

Mario: What’s next for you? I mean, what are you excited about or like what some of these like learnings that you got and that you’re going to implement now in your next steps?

Yeohee: I think I’m moving to Berlin next year. I mean, because it’s challenging. It’s challenging me and I love the feeling. I mean, I think, I spent enough time in Tokyo and Asia developing myself at certain level. Then, the world is out there, so I feel, I am definitely ready to go further. Then, that would be—since I’m an electronic musician, and then—yes, I think, definitely, I will try out more European market, which is, I mean, also, you know how big and important the scene there as an electronic music is from there. So, I love to challenge myself to those market from now.

Mario: Yes, I think that’s inspiring. It’s like, especially, as you said, you’re working as an electronic artist, there’s not as many places, where like up there, and Berlin is probably the first one. So, it’s like—I think that’s very inspiring to kind of—even though we are in a world, which is quite connected through internet in one way, but it’s a different way to actually immerse yourself in an actual place, or you know, so many things are happening, which are connected to what you’re doing, or want to be doing.

Yeohee: I mean, I have no doubt, because music is culture, and it’s a huge tool, and huge communities here, right? Then, to understand music, you need to understand the culture first. That’s why I stayed there from last year and here, three months, because I have to know the people first, and people behaving different in certain music. Because if you don’t know those little vibes, and in between, how to communicate each other, I don’t think you can make their people music, and make them dance.

That was a huge lesson to me, and I was so excited about it, and it was so much lesson. Then, yes, I mean challenging me, really, because everything is so new to me, and then, excited. Yes, I have to follow my heart.

Mario: Do you get scared?

Yeohee: Oh, yes, but I don’t care. I accept that. I get scared, but I know that’s okay. I mean, everyone gets scared, and that’s just a scary feeling. Yes, I’m scared. Yes, of course, because I have to drop down so many stuff here. I have this beautiful community here also in Tokyo. I love this Tokyo scene a lot. Of course, I’m not going to drop out, but to left out, and to challenging myself in totally different way, and people, and communities, of course scares, but that’s normal.

Mario: Were you always like that or did you like learn that, to accept fear and just go for it?

Yeohee: I think my mom is very strong woman, maybe the strongest woman I ever met. Then, I think, I get that from my mom. I always challenge. I love challenging, and I never stop. I think it’s my blood.

We have reached the final topic I discussed with Yeohee. As with previous guests, I’ve asked her to share some closing advice based on the insights she’s gained throughout her journey so far.

Yeohee: First one, actually, be original. I mean, actively talking yourself, and be really just yourself. I mean, be original, really. Because, like I said before, earlier, every individual has a unique past and history, and then, use that. I think, to use that is really important, and use actively, talking yourself. Second is be active and open. Actively open, be kind to others so you can actually get support. You need it, definitely need it. Then, number three would be, be true, be honest. Yourself is really important because it’s connecting your confidence and self-respect. So, I think you have to be really true about whatever you do, whatever you say. Even one thing needs to be really true.

Hey, everyone. That’s it for this episode. I hope you found it insightful, and if you have enjoyed it, consider sharing it with a friend. I want to thank Yeohee for her generosity and for taking us through her journey. Links to her music and some of the other things mentioned during the conversation can be found in the show notes at creative.voyage/podcast. 

If you’re looking to deepen your creative practice, strengthen your collaborative expertise, craft compelling visual narratives, and bring your unique vision to the world, consider joining our own Art Direction workshop this spring. Sessions begin in late May, and the enrollment will open soon. Join our wait list at creative.voyage/artdirection. That’s creative.voyage/artdirection.

Finally, if you haven’t already, be sure to subscribe to this podcast. Until next time, my friends. Take care.