Unless you’ve been blissfully disconnected from the K-hip-hop circuit, you’ve probably felt the ripple of PENOMECO’s return. The Seoul-born rapper, singer, and producer has been relatively quiet on the solo front for over a year, a silence now shattered by RNSSNC TAPE, an 8-track, genre-slicing statement piece that’s part mixtape, part manifesto. Here, PENOMECO stretches his sound into new territories: Afro-fusion rhythms, Latin pulses, smoky R&B textures, while keeping his trademark wit and wordplay intact. It’s a record that feels both meticulously crafted and playfully chaotic, the kind of project that invites you to dissect its details while making you want to dance.
PENOMECO describes it as a “Renaissance” of his own making, not a comeback so much as a self-engineered evolution under his independent label, if I. The title track “EGGE,” featuring Korean hip-hop heavyweight YDG, flips satire into swagger, while cuts like “Dance With Me” and “Leave Without You” reveal his cinematic sense of emotion. By the time the euphoric “COCO BOTTLE APRO REMIX” closes the set, one thing’s clear: PENOMECO’s not just navigating trends, he’s busy rearchitecting them.
What sparked the initial idea behind RNSSNC TAPE? Did you approach this project with a clear concept in mind or did it evolve track by track?
In the past, I’ve placed a lot of importance on the cohesiveness of an album—building a specific framework and moving freely within it. But with [RNSSNC TAPE], I wanted to go beyond that framework, to work with even more freedom than before. I approached this more like a mixtape, using the format to showcase my potential and competitiveness without any limitations. That’s why I chose the title “RNSSNC TAPE”—a blend of “Renaissance,” which symbolizes a peak era, and “tape,” to emphasize its mixtape-like nature.
The title RNSSNC TAPE suggests a kind of rebirth or transformation—what does “renaissance” personally mean to you at this point in your career?
As I mentioned earlier, the term “Renaissance” is often used to describe someone’s golden era or the flourishing of a specific genre—like “their Renaissance period” or “a Renaissance in [genre].” I wanted to reflect that same boldness and ambition in my own career. I want to call every moment in my career a Renaissance—that’s the kind of confidence I’m carrying.
The visuals in “EGGE” are surreal and layered with symbolism. Can you walk us through the initial concept behind the video?
Across the production and visuals for this album, I leaned heavily into playful elements—satire, mockery, even black comedy. I questioned what we consider “art,” especially the ironic dissonance between art that resonates with me and the kind I just can’t connect with. Through this album, I explored how I perceive art, how seriously I take it, and how deep my exploration goes. I wanted to express that in-between space—where something can be seen as a high-quality piece of art to one person, and total trash to another. I wanted that contradiction to come across—sometimes even grotesque, sometimes irresistibly captivating.
Are there any international artists or sounds that inspired parts of RNSSNC TAPE?
So many artists have inspired me. You can hear that just by listening to the album—my influences come from a wide range of genres. For the pre-release track “KK”, I owe a huge debt to Afrobeats artists. For the title track “EGGE”, I was deeply inspired by artists from Latin America. I want to take this chance to thank all the artists who’ve influenced me. I hope this album feels like a tribute to them.
You’ve worked with YDG before on “BOLO,” and now again on “EGGE.” How would you describe your creative chemistry?
YDG is an artist who commands deep respect in the Korean music scene. I’ve always admired him as a fan, so I reached out to him with a collaboration offer rooted in that respect. And honestly, he blew past every expectation I had. There are moments when his artistic sensibility is so overwhelming that it gives me chills. When I stand next to him, I feel like I just make music with a calculator—he’s a born artist, through and through. I just did my best to organize and shape the raw talent he brought to the table.
Did working with YDG again unlock something new in you as a performer or writer?
I haven’t worked with many senior artists, and every time I do, my deep respect for them tends to define how I act—which might have come across as a bit stiff or distant. But this time, with YDG, it felt like working with a close colleague. I was able to let my guard down, and it showed me that I can collaborate comfortably with artists I respect. In a way, maybe I’m finally becoming a veteran myself.
The remix of “COCO BOTTLE” closes the tape with a totally different vibe. What made you choose that track to revisit and end on?
The reason was simple. I had worked on the album in such fragmented pieces, and if there was any track that could really capture the mixtape essence of the project, it had to be a remix. That’s why I included it at the very end—as a final medium to convey my intent.
What’s one thing you’re doing now as an artist that you wouldn’t—or couldn’t—have done five years ago?
I don’t doubt myself. But I do obsessively focus on self-objectivity. That caution helps enhance the detail and quality of my music—but it also wears me down emotionally, fast. I used to constantly scrutinize and second-guess myself, not just in music but in life in general. Compared to five years ago, I’m trying to love myself more now, to trust instead of doubt. That shift has helped resolve a lot of the uncertainties I used to have in my music.
If this phase is your “renaissance,” what’s your dream next chapter?
You’ll soon find out what the “Dream Chapter” is. It’s okay to expect a lot—I’ve never spoken this confidently in an interview before. What’s coming is beyond anything you imagined. Just wait a little longer.