In-depth Interview with Deepdrome

South Korean producer and media artist ilseok Yoon, better known as Deepdrome, reflects on his lifelong relationship with electronic music, the philosophy behind his work & his vision for the future.

From early experiments with trackers in the late 90s to defining his sound within dub techno, ilseok Yoon has lived many lives in music. Known under different aliases, he eventually found a home in Deepdrome, where personal reflection and sonic exploration come together. In this interview, he opens up about his artistic evolution, creative philosophy, and the challenges and opportunities of today’s music industry.

Hello! How are you today, and what have you been up to lately?
Hello, I am ilseok Yoon, living in South Korea. Please just call me Paul.
I am active in the dub techno music under the name Deepdrome.
I have been working non-stop recently, so I took a five-month break to protect my hearing and refresh my brain.
I also work in an industry related to music. I am a musician and media artist who creates sound art, and I also mentor game music and sound effect creators.

Can you briefly share when you started producing music, your first piece of equipment or software, and reflect on your debut release?
I went to LA, California, in 1997 to study abroad and attended high school there. While studying art to enter art school, I started composing music as a hobby in 1998. At that time, I produced music using music programmes such as Scream Tracker and Impulse Tracker, which were part of the AMIGA Music.
In March 2000, I returned to Korea and continued making electronic music at clubs in Seoul.

My first equipment... How should I put it? Since I started with computer music from the beginning, I would say it was a Sound Blaster Live! audio card. I had no other equipment besides a computer keyboard and mouse. For the first eight years after I started making music, I didn't have monitor speakers, so I monitored my music using ordinary speakers that cost around 10 dollars.

My debut work was a track called Bazooka - the girl in my dream, which was included in a CD album created by millim.com, Korea's largest underground music community, in 2001. The genre was trance.

Later, around 2008, I gained fame under the name Paul Bazooka, producing many hit songs for commercials and video games. Thanks to that, I was able to purchase good audio equipment. At the time, due to the nature of video game music, I worked on all genres of electronic music. But the end result was...
"What is the story I truly want to tell? Am I actually conveying that through my music? My life is sad and miserable, so why is my music so upbeat? Is this right?" I asked myself these questions.

Later, I created the project name Deepdrome to focus solely on Deep-style music untouched by commercialism. Under this name, I’ve been active on Soundcloud for over a decade, but I never intended to share my experimental Techno and Dub Techno with others or make my debut. However, after my tracks were featured on Driftdeeper and DubtechnoTV’s blogs, YouTube, and Soundcloud, I received requests from Dub-related labels for a V.A. album, and I released two tracks on Citrica Records (Spain). I am always grateful to them for that.

My first debut EP in the Dub Techno genre was Deepdrome - Hangover EP, released by Greyscale (Lithuania). It captures the abstract image of a city wandering alone at night when no one is around.

Did you have a mentor or take any lessons, either offline or online, to enhance your skills?
When I started making music in the late 90s, it was a time when people mainly used modems to connect to BBS, and South Korea was a barren land with almost no one interested in electronic music. At that time, the concept of the internet as we know it today did not exist, so even if I wanted to learn about certain technologies, I had no way of doing so.

Even electronic music musicians working in similar genres to mine were few and far between, and most people were only interested in pop or hip-hop. So, to study music, I had to find my own method...

I downloaded music project files from MOD music communities or Reason communities where others shared their music, opened them, and tried to understand the principles behind them through self-study. Since I created music without any theoretical foundation, my approach to music production remains distinct from others and is far from conventional to this day.

Do you have a preference between producing music and DJing?
I prefer music production. I had a fascination with turntable DJing using vinyl, so I practised a lot with vinyl in my 20s. Later, I was curious about how complete the sound of my plays and my personal work was, so I asked the club manager if I could go to the club through the back door on weekdays and test my DJing for a few months. (For example, what kind of sound balance is best in a club, or how loud and good my kick drum sounds in a club, or if the sound is muffled or distorted, etc.)
However, from the beginning, my main focus was on music production and my own development rather than performances. My first performance was also a GIG-style performance using an early version of Ableton Live.

What do you consider the highlight of your career so far, both as a DJ and a producer?
Rather than talking about my commercial career, I want to be honest in this interview. About 16 years ago, I first encountered the genre of dub techno. It felt like I had found the only music genre that could capture the complex emotions I had felt throughout my life. So I began studying dub techno sound design.

For over a decade, I created what could be called rough drafts—pieces I only listened to myself—and this process felt like writing in my personal diary, documenting my daily routine.

One day, I suddenly decided I would no longer create Dub Techno. I completed four tracks, thinking they would be my last. I sent them to the Greyscale label in Lithuania in 2024 and forgot about them. I thought the songs wouldn’t be contracted anyway, because the label is home to so many amazing musicians.

The reason I thought about quitting music was that when I got deeply into making deep music, it made me ask myself a lot of philosophical questions. This seriousness and self-reflection made me feel like it was having a bad effect on my life, where I've always been joking around and living with a bright and cheerful face. Especially after getting married, at a time when I should be enjoying life with my family, I found myself becoming too deeply immersed in music.

However, unexpectedly, Greyscale contacted me within a week, saying my track was good, and it felt like a clear message saying, "You must continue with Dub Techno."

How did you first learn about Crossfade Sounds, and could you mention some of your favorite releases on the label?
Crossfade Sounds has always been full of artists who produce deep, high-quality sounds, so I often enjoyed listening to them. I participated in my first album by contributing to the mix music of Francesco Tamburrano and Seabra Monkey. I reinterpreted the theme of the original song in my own style and sent it to them, and they were satisfied with it, so it was included in the album. Meeting those two allowed me to view Dub Techno from a different perspective and made the music itself more enjoyable.

Although it may seem presumptuous, I would recommend my EP, Natural Phenomenon | Deepdrome, as my favourite release. I wanted to capture the natural phenomena of air currents that originate and move on their own in the sound.

When making a track, how do you typically approach the process? Do you spend more time on sound design, arrangement, or mixing? And how long does a remix usually take you from start to finish?
I think of dramatic images like movies and photos and decide on a theme. Then, I start with sound design that fits those images. Sometimes, I just have fun with sound design and end up using the images that pop into my head as titles.

In my early days when I lacked confidence in myself, I used to think that the low quality of my music was due to insufficient mixing and mastering, so I prioritised mixing and mastering above all else. Back then, I would spend 2–3 months on sound mixing and mastering for a single track.

Now, the mix is already completed at the sound design stage before entering mastering. That is, since I design the specific frequency bands of instruments in advance while creating the music, I no longer spend a lot of time on mix mastering. Instead, I spend more time on sound design.

A remix can take as little as 3 hours or as long as 3 days, depending on the conditions. In most cases where it takes up to three days, it is because of mistakes made during sound mixing or mastering.

What is your main DAW, and can you name a few of your go-to VSTs, plugins, or tools you use when producing music?
In fact, any DAW released recently will allow you to create music without any problems. However, Ableton Live seems to allow you to focus more on the details of the design.

I primarily use the built-in synthesiser called Operator for sound design. Though it may appear simple at first glance, Operator is sufficient for capturing my musical universe.

For spatial effects, I utilise Ableton Live's built-in reverb, echo, and delay. On rare occasions when I wish to add character, I use a VST that simulates the Roland RE-201 or Eventide's spatial effects.

For VST, I use Fabfilter's Pro-L 2 limiter as the default at the end of the mastering track. If you want your sound to have more character, I recommend using distortion or compression plugins that emulate vintage equipment. In fact, even the plugins built into the basic DAW have evolved significantly, so if used properly, they can produce excellent sound.
Finally, the audio card I use is the RME UFX, and using the DIGICHECK program provided by RME, I can pre-check how badly my mix mastering sound has been ruined.

Many artists have a signature sound or style. How do you balance staying true to your artistic identity while also experimenting and evolving as an artist?
Developing your own unique sound is a given, and I believe that inspiration is important in order to bring that sound to life. In my case, I gain a lot of inspiration by digging into social issues, art history, world history, natural phenomena, science, culture, trends, fashion, and games. It's difficult to broaden your spectrum by focusing solely on music. I recommend reading books or frequently watching YouTube channels.
Maintaining one's own colour while embracing new things through music study + acquiring diverse knowledge across various fields, when these two are combined, I believe it leads to personal growth as a musician. My growth is directly tied to the development of my music. Art is an endless continuous enumeration of culture.

The music industry has undergone significant changes in recent years, with streaming platforms and digital distribution reshaping the landscape. What are your thoughts on the current state of the industry, and how have these changes affected your career?
I believe that an artist who has been active in one field for a long time but lacks critical thinking is a dead artist. So, to put it bluntly, the distribution method of streaming is far too weak compared to the efforts of musicians. Streaming services should also distribute profits to labels and musicians in a manner similar to how physical CD sales were shared, providing some form of new service. In that sense, Bandcamp's approach is moving in the right direction.

The most frustrating aspect of streaming services is that many of them do not allow searches by label name, which is quite frustrating. Additionally, the subgenre classifications for electronic music by streaming companies are also in disarray. Considering that streaming music platforms have been around for 20 years, immediate improvements are necessary.

And just for fun, let's predict the future of the music industry... In the near future, due to the development of media, it will become essential to not only listen to music but also to express it through media art or music videos. Without videos, people may not listen to music as much. It seems very natural that video artists will collaborate with musicians. Of course, new devices that make these imaginings possible will emerge. Something beyond current AR and VR technology. In the future, those using such devices will likely take it for granted that video plays alongside audio. You’re probably watching shorts or reels easily right now? That’s the future I’m talking about. Yes, these are just my imaginings.

What are some of your favorite record labels, and do you have a specific goal or aspiration to release your music on a particular label in the near future?
There are so many labels that I like that it's hard to list them all. However, I look for musicians first, rather than labels. To be honest, I have no goal or desire to become famous. I think that becoming famous and being happy are two different things. My goal and ambition is to continue releasing music that expresses who I am with labels that like me.

What advice would you offer to your younger self, considering all the knowledge and experience you've gained in your career so far? Additionally, what advice would you give to aspiring artists who may be reading this interview?
When I was young, I spent most of my time thinking about big things like wanting to be recognised for my music, wanting to make money and become famous, and wanting to change the world with my music. Now, I mainly make self-centred music that tells the stories I want to tell.

I think it's important to develop the habit of studying not only one genre of music, but also thoroughly studying genres of music that you don't like. The advice I would give my younger self is simple: "Please buy monitor speakers!!! As soon as possible!!!"

Besides music, do you have any other passions or hobbies?
Originally, my hobby was reassembling and modifying small motorcycles such as the Honda Ruckers 50cc. However, now my hobby is collecting retro game consoles. I own almost every type of classic game console, from MSX1 to Nintendo, Sega Megadrive, PCE, 3DO, Xbox-OG, GB, GBA, and more. The reason I collect retro game consoles is simple: it makes me feel at ease. When I insert an old, worn-out game cartridge into a console that's nearly 40 years old and looks like it might break at any moment... I get to relive the emotions of my childhood.

Are there any books, documentaries, podcasts, or TV shows that you'd like to recommend to your fans and fellow artists?
I would like to recommend a documentary called Modulations - Cinema for the Ear. It is an old documentary that is difficult to find, but as far as I remember, someone uploaded it to YouTube a few years ago, so anyone can search for it and watch it. It is filled with fascinating stories about the essence of electronic music. It will be a time to reflect on facts you may not have known or to revisit those you already knew.

Could you share some of your all-time favorite tracks or songs that have had a significant impact on your musical journey?
CJ Bolland - Sugar is Sweeter
Moogroove - Deuce (Mara's Chooicide Remix)
Rod Modell - Hotel Chez Moi

What can we look forward to from you in the near future?
We've danced enough, so now let's close our eyes. Then you will encounter Dub Techno, with its vast canyons that seem to suck you in, the branches of life that stretch out, the fragrance emitted by the moon and clouds, and the endless universe that unfolds. I hope more people will become interested in Dub Techno.

Check out his EP on Crossfade Sounds: https://go.protonradio.com/r/rlQuAX7SKikb8
Follow Deepdrome here: Soundcloud | Instagram