A few days ago, while researching the Korean hip-hop scene, I discovered Park Dae-young, or Young Ill, as he’s known in the industry. Originally from Gumi, South Korea, Young Ill has been steadily building his career in Suwon since 2017, with a passion for hip-hop and rap that began at an early age. With one foot in the U.K.’s vibrant music scene and the other firmly planted in his Korean heritage, he seamlessly mixes genres like drum and bass, drill, and garage with Korean rap, creating a sound that’s both globally informed and distinctly Korean. I got in touch with him, eager to learn more about his story, and it turns out this talented South Korean hip-hop artist and producer has since established himself in the global rap community, now splitting his time between Seoul, Suwon, London, and Paris.
Influenced by rappers like Drunken Tiger, Leessang, Eun Ji-won, and MC Sniper, Young Ill was inspired to pen his own lyrics right from the start. Initially, he was drawn to how music could convey his thoughts and emotions, particularly on subjects that were difficult to address openly. After completing his military service, he moved to Suwon to focus on music full-time, where he began learning music production. Young Ill recalls, “I wanted to be skilled in every aspect. Then, starting in 2022, I began receiving calls from Europe. I was contacted by the French producer Sonikem, which led me to travel to France, and around the same time, I connected with Jodie Jo from London’s Playhouse Entertainment, which brought me to the U.K. as well.” Young Ill admits that, though his biggest influence until then had been American hip-hop, he found himself strongly drawn to European hip-hop sounds and culture from 2022 onwards. “Today, I continue to move between Korea, Japan, France, and the U.K., creating, producing, and releasing music. Most recently, I took part as a rapper in Japan Expo 2025, one of the biggest festivals in France, and released my first LP album.”
Following his 2018 mixtape Forever Young Ill, the artist officially debuted in 2019. He expanded his discography with several releases thereafter, including the EPs Drill Come T.R.U (2022) and Jet Lag 2024 (2024), as well as his new album, Scenario #01. As a producer, he found his own voice and style while drawing from Korean hip-hop’s cultural identity, something that has had quite an impact on his artistic expression. He attributes his growth to the high level of talent in Korean hip-hop, saying, “In my view, Korean hip-hop has many incredibly talented rappers. I have encountered diverse hip-hop scenes worldwide, but I believe the level of Korean beatmakers and rappers is truly high, and the overall quality is consistently strong. Because of this, I was able to elevate my own color and quality by working with great producers and rappers. This allowed me to freely mix spontaneous ideas and create unique work.”
He further elaborates on what sets Korean hip-hop apart: “Korean hip-hop is distinguished by the use of the Korean language’s unique rhythm and rhyme to create original flows.” He highlights the effectiveness of the Hangul writing system, noting that it’s an extremely effective and scientific writing system that can express every possible sound, allowing for diverse linguistic transformations within lyrics. He also notes that Korean hip-hop is known for expressing a wide spectrum of emotions — love, social issues, and personal growth — in an honest and often dramatic way, which resonates deeply with listeners. “Beyond the music itself, Korean hip-hop is closely tied to K-pop, fashion, music videos, and social media, making it part of a wider pop-cultural experience. This combination has helped Korean hip-hop establish itself as a distinctive cultural movement with global appeal.”
To that growing appeal, Young Ill brings his own. His sound is a mix of global influences and heavy beats. I ask if and how he incorporates traditional elements into his sound. “Regarding traditional sounds, I have worked a lot with my producer flexx,” he shares. “Generally, we combine East Asian samples with the drum sounds and bass from UK Drill — the style I enjoy — which makes the process easier.” He details, “This concept initially started with my French team, ‘Stardust Korea’ producer Sonikem, and Jodie Jo from the London company ‘Playhouse Entertainment.’ They strongly embraced their African roots and showed deep confidence and identity related to their cities and backgrounds. At that time, I felt that simply following other musicians made me feel fake, so I began to explore what roots and ideas I alone could create.”
This shift towards authenticity is something Young Ill believes will continue to influence the future of Korean hip-hop. With the music industry in flux, he reflects on the journey of the genre — where trends rise and fall, new talent emerges, and the pressure to stay relevant has all shaped the industry. He turns to the impact of reality TV shows like Show Me The Money and how they’ve influenced the way artists approach their music. “In the past, the yearly show ‘Show Me The Money’ brought out many rappers. After Show Me The Money 11 ended and before 12 started, all rappers showed various ways to survive independently. Around that time, there was a split between musicians who followed a more popular melodic sound and those who stubbornly created mainstream or unique sounds true to their desires. Interestingly, during that moment, the rappers and listeners who loved hip-hop and rap for the pure passion rather than money or fame were the ones who survived the most.”
Speaking more about carving out a niche in the industry, Young Il attributes his artistic growth to his music as a reflection of his true self, sharing his dreams, hopes, and passions to connect with his listeners. However, he makes it clear that, unlike many rappers, he prefers to steer clear of expressing personal social opinions or addressing sensitive subjects. “Rappers usually say what they want, but I prefer not to hurt anyone or expose private matters.” He emphasizes, “In truth, as a musician, I want to focus on giving hope, joy, and emotional exchange with listeners. Because social and sensitive issues do not easily find compromise, I want to be more of a source of happiness for people rather than a social activist.”
Looking ahead to his vision for the future of his music, of Korean hip-hop, and how he sees independent artists like himself contributing to the scene, Young Ill notes, “Show Me The Money 12 is about to be broadcast soon. Since it is happening again after a long break, many fans have drifted away, so it is interesting to see how this will influence the scene. Currently, hip-hop’s popularity in Korea is decreasing, which makes the situation more concerning. I believe the insistence on domestic hip-hop culture makes it harder for independent artists.” That being said, he reiterates that individuality remains the key to success. “I think many musicians who create unique images for themselves, not only domestically but internationally, will survive. From my career experience, I want to show other musicians that the path isn’t limited to Show Me The Money or stereotyped careers, and be an example to them.”
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