On a rainy, humid day in the western part of Seoul, I meet eAeon at a café with a distinct 1980s UK vibe. As we sit down against the backdrop of the retro décor, eAeon’s calm yet reflective demeanour offers peace and tranquillity. His artistic journey has been one of significant evolution, from the formation of the band Mot to his solo work that spans various genres and states of mind. In a career characterised by exploration, experimentation, and self-reflection, eAeon has built a sound that is entirely his own. Yet, even in his current relaxed, minimalistic approach to music, there’s a sense that he’s constantly searching for something deeper, something profound that ties together the vast range of influences he has accumulated over the years.

As we talk, eAeon opens up in a way that feels both candid and deeply personal, revealing not only the complexities of his creative growth but also the personal challenges that have shaped his music and his life. His reflections on dealing with anxiety, depression, and the fragile nature of human emotion give an insight into the vulnerable side of an artist who is often seen as enigmatic. From his thoughtful commentary on the transition from Mot to his solo work to his experiences collaborating with RM, eAeon speaks with such honesty that I can’t help but feel empathy and a deeper understanding of his artistry.

Through it all, he remains grounded in his purpose continuing to make music that is not only authentic to him but also connects with listeners across the world.

Throughout my career, I’ve explored various genres. From rock bands to jazz, electronic, glitch pop, hip-hop, and trap, I’ve always experimented and built up a kind of musical arsenal. I’ve been expanding my library, collecting ideas and influences that continue to shape my sound. – eAeon

View of the Arts: Your journey as an artist has seen significant evolution from the formation of Mot to your solo career. How do you view the transition from Mot to glitch pop sound, and then to the current sound? What aspects of each phase continue to influence your work today?

eAeon: I’ve always followed what felt fun and authentic to me at the time, exploring genres and styles without simply blending them for the sake of it. At each stage, I sought to strike a balance, finding new creative ground. When I transitioned to being a solo artist, I became much more detail-oriented. Compared to my earlier work and the glitch-pop era, I now approach music with a sense of ease, almost as if I’m constructing something digital. The sounds I’m creating today feel more relaxed, looser, and even more minimal in some ways. It’s a style I’m more comfortable with – less obsessive, more organic.

Throughout my career, I’ve explored various genres. From rock bands to jazz, electronic, glitch pop, hip-hop, and trap, I’ve always experimented and built up a kind of musical arsenal. I’ve been expanding my library, collecting ideas and influences that continue to shape my sound. I feel like this process of constant exploration is leading me to a bigger picture – one that I couldn’t see before. In a way, I’m collecting ‘big data,’ absorbing as much as I can. I hope that, in doing so, I’ll stumble upon something singular, something entirely new and groundbreaking

VOA: Your solo debut single, All I Want For Christmas, marked a distinct shift from your work with Mot. How did you navigate the challenges of establishing a solo identity while retaining elements of your previous musical experiences?

eAean: My solo debut felt like a test drive. Before officially becoming a solo artist, I  spent time exploring what I could do, testing the waters to see where my music could go. It happened to coincide with the Christmas season, and I didn’t want it to seem like I was just continuing the work I did with Mot on my own. I wanted something different, a sound that was distinctly mine. Of course, my earlier music still had pieces of me in it, but going solo required something unique, so I worked hard to create that.

The transition from being in a band to becoming a solo artist was long – it took about four years in total. Part of that time was due to vocal cord damage, which forced me to take a break from the band. During that time, I started developing my solo work, trying out different ideas and experimenting to create a sound and identity that were truly my own. It was a period of trials and turbulence. The rise of the digital era also influenced me and played a role in shaping my transition into a solo artist.

VOA: The concept of ‘guilt-free’ is central to your 2012 album of the same name. Can you elaborate on how this thematic idea influenced the creative process behind the album?

eAeon: Back then, I was much more sensitive than I am now. A lot more things made me feel anxious and guilty. Whether it was working on music, navigating personal relationships, or grappling with societal issues, I constantly questioned if I was doing something wrong. I noticed that people who should feel guilty for their actions often aren’t – they seem completely unaffected. Meanwhile, those who are more sensitive and caring often carry guilt for no reason. It struck me as odd. I didn’t want to be weighed down by guilt anymore. I wished I could just break free from it. Sometimes, I even thought it would be great if someone could invent a pill to make that feeling disappear.

VOA: In your 2021 album Fragile, you mentioned that it was a reflection of your journey with panic disorder. How did this personal struggle shape the sound and lyrical content of the album? Can you discuss specific tracks that you feel most represent this transformation?

eAeon: I didn’t have the strongest mentality even before developing panic disorder. When it hit me, I found myself pondering how humans can reach such a stage of fragility. I had already experienced depression, which I believe is common among artists, but panic attacks are distinctly different. The first time I had one, I thought I was having a heart attack. After getting checked out, I was told it was a panic attack. At that moment, I realised, ‘I am fragile’. During that period, I was terrified I wouldn’t be able to return to who I was before; that was my greatest fear at the time. I was already considered a bit odd [laughs], but what if I couldn’t go back to my former self? What if something was seriously wrong with me, and I didn’t even know it? These thoughts haunted me.

There’s a song called A Beautiful Mind from the film of the same name. It resonates with me because, on the outside, I felt strange and forgetful, but internally, things were different. Anyone who goes through such struggles must remember that within them lies a soul – the essence of who they are. When faced with difficult times, as I did and as many others do, it’s crucial to hold on to that inner spirit. I didn’t want to forget it; I didn’t want to lose myself.

Some of the songs reflect the state of mind I was in at that time, as I sought to express my experiences and the challenges I faced. I often found myself pondering how to articulate what I was going through and how to convey that I felt like this “weird” person. How does one live with the awareness of their own fragility? That struggle is captured in several of my lyrics. Conversely, I also wrote songs that explore how we can navigate that fragility. They delve into the idea of embracing our vulnerabilities and highlight the importance of loving those who are fragile. In doing so, I hope to offer both an acknowledgment of our struggles and a sense of compassion for ourselves and others.

My solo debut felt like a test drive. Before officially becoming a solo artist, I  spent time exploring what I could do, testing the waters to see where my music could go. – eAeon

VOA: With your single Don’t, a collaboration with RM, achieving international success and topping the iTunes charts in 76 countries, how do you view the global reception of your music? Has this success influenced your approach to creating and releasing music in any way?

eAeon: After the success of Don’t, some things did change. For instance, I gained international fans who now enjoy my music, and I’m incredibly grateful for that. On the other hand, I thought, maybe it’s not all because of me [laughs]. Yes, RM definitely helped bring attention to the song, but I also believe this collaboration was possible because of the musical journey I’ve been on and the kind of music I’ve created over the years, and RM found interest in it. 

I wouldn’t say my music or my approach has changed dramatically, although there have been some adjustments. The biggest shift is being more aware of the global audience out there, waiting for my music. It makes me more conscious of that, but it doesn’t mean I’m going to create music just to please someone else. That will never happen. I’ll continue to make the music I’ve always made.

That said, I do try to incorporate more English lyrics now [laughs], but there’s no compromise on the kind of music I want to make. I’m focused on staying true to myself while also thinking about how I can connect with my global fans more effectively

I think RM is one of the best top-tier lyricists. When it came to Don’t, I had already written my part and was originally planning to feature someone else. But then RM heard the track and said, ‘I want in,’ and I agreed. If you listen to the song, my lyrics are very direct – things you’d say in real life when someone you love is leaving, and you’re desperately trying to hold on to them. RM’s part, however, is much more poetic. He recorded his verse in his own studio and sent it to me, and it was amazing. His lyrics were filled with metaphors and creative expressions, providing a striking contrast to my straightforward lines.

What was particularly interesting is that some people, due to preconceived notions about idol groups, might expect simple or surface-level lyrics from RM, but that couldn’t be further from the truth. RM is a rapper and an idol, but his writing is deeply layered. There was a point of convergence in what we both brought to the table. I didn’t give him any specific direction or restrictions, and what he delivered was fantastic.

Even the humming and the outro in the song were his ideas. He also did a brilliant job with the vocal harmonies – he sent me about 10 different vocal tracks, and I ended up using most of them as they were. The creative process went smoothly, and overall, it was an incredible collaboration.

VOA: In July, you released a double-single under Night Off that includes ntmc and That’s all. What’s the story behind this latest release? 

eAeon: When I talk about ‘ntmc’ (short for intimacy), I’m referring to a different kind of connection—one that feels real but isn’t direct. It’s the kind of ‘intimacy’ you might feel toward your favourite actor, idol, or even people you follow online. These are individuals who don’t even know you exist, yet you feel a sense of closeness. It’s not traditional intimacy but rather an internal one, if that makes sense. You feel deeply connected to these people, but you’re too shy to express it, and even if you could, you might wonder how or where to do so. 

Still, for some, this kind of internal intimacy is enough to help them keep going. It gives them a sense of companionship, making them feel less lonely in the world.

VOA: What else can we expect from you in 2024 or 2025? 

eAeon: I’m currently working on Night Off’s album, and to be honest, I have a backlog of songs waiting to be released. I need to focus on those first, which is why my own album keeps getting delayed [laughs]. But I’m aiming to release something, at least an EP, by next year. I’m also working on the second release for BAT APT., which is a collective of musicians I’m part of. 

Written and interviewed by Maggie Gogler

Translator: Roc Lee

Featured image © Nicole Rayo for View of the Arts

_{View of the Arts is an online publication that chiefly deals with films, music, and art, with an emphasis on the Asian entertainment industry. We are hoping our audience will grow with us as we begin to explore new platforms such as K-pop / K-music, and Asian music in general, and continue to dive into the talented and ever-growing scene of film, music, and arts, worldwide.}