DREAMING
WITH
FATHER KOI



WHO ARE YOU?

I am Father Koi, but my name is Kara. I'm a songwriter, producer, and musician primarily, but I have other hobbies. I like to draw, and I like to make clothes too.



HOW DID YOU GET STARTED WITH MUSIC?

C: I know you were classically trained in piano from age six. Talk about that experience.

Yeah, so I essentially grew up playing classical piano. I started when I was six, and I just kind of kept playing. I feel at some point a lot of kids try to drop off to pursue other things. But I just kept taking lessons. I was also attending Saturday music school during the time I was in high school. Every Saturday, I would take piano lessons and theory classes and things like that. And yeah, I definitely feel I was lucky cause I started young. I think that throughout my life I came to realize that I really, really loved music and I ended up majoring in it in college, so that was really fun.

And it was also during high school that I realized I really like to write songs. I started writing a lot of indie DIY bedroom pop-type stuff, then moved on to Beatles-inspired stuff—which I'm still a big fan of—and then I ventured into Electropop in 2021. Now I kind of do a blend of everything. It's always been my dream to perform on stage and make my own music under my name, and I'm doing it now, and I'm really happy about that.


HOW WAS THE SWITCH FROM BEING CLASSICALLY TRAINED IN MUSIC TO USING A COMPUTER TO CREATE MUSIC?

I use Logic Pro X and get shit on a lot for that. But yeah, it's been interesting. I feel like it's been…

C: Wait, what do people usually use?

They use Ableton.

C: Is that what's hot in the streets?

E: Ableton is so easily pirated, too. Why don't you just use Ableton?

Because I have muscle memory using Logic—I’ve been using it since 2017. Yeah… I already know how it works. I don't wanna learn anything else. I guess I’m being a bit lazy. I have Ableton, though, because I bought it with a student discount.

E: You bought it?

Yeah!

E: Why would you buy Ableton? You could use it for free.

Because of my student discount!—I know, I was like, it's my last year of college. I don't wanna –

C: How much is that?

E: Ah, dude, it's like hundreds of bucks.

It's around $400. Okay, but it was an investment. What annoys me is paying every month for something.


I’d say that the biggest switch wasn’t necessarily genre wise - like going from indie to electronic, I feel like that’s somewhat expected or a natural path. The biggest switch was more like learning to record things through an interface and mixing in a DAW. The first time I tried to record piano I used the upright in my parents’ basement. I didn’t even know MIDI was a thing. The song that came out of that was so badly mixed. But I've always had a love for synthesizers and sparkly sounds, reverb sounds, really cool synthesizers, and similar things. I think my song "Dreamgirl," which came out in 2021, was definitely the big shift into Hyperpop. I produced that for an electronic music class that I took in school. When I was making it, I was like, okay, whatever, it's a song. But then I was like, wait, this is actually a good song, and I wanna do something with it. This was still during the pandemic, so I searched up like #100Gecs production on TikTok, and I found this guy called Sev Archer, and I was like, "Hey, do you wanna help me with my song?" And he just agreed, then he completely transformed it and made it into Dreamgirl and what it is now.

Sev is off doing great things right now, though. If I remember correctly he coded this app for his sister, who has a disability, and the app to help people with this disability normally costs about $600 or something like that, but he wants to code his own app and make it free. Then the BBC interviewed him, so he is doing great things, but he won't respond to me, so I’m a little sad. I'm like, can we make more music? Haha. Shout out to him, though, yeah… shout out to Sev Archer.


TALK ABOUT YOUR FIRST ALBUM "LATE AFTERNOON NATIONAL ANTHEM"


That was definitely a big first step. I think a lot of people who make music they're like, oh, I'm so nervous about a first single or first album, and I can totally relate to that. It's definitely crazy to create one song, let alone a whole selection of your own songs. I enjoy albums because they often tell a whole story and in my opinion really let you get to know an artist in the span of however long the album is. It’s like reading a book. So LANA was made during the pandemic when no one had anything to do, and I had this collection of songs sitting around. I was like, I'm just gonna finish it. I guess genre-wise, it's very inspired by indie - the Beatles, Father John Misty, a little bit of Beabadoobee, just stuff that I was listening to at the time. And I feel a lot of my albums are kinda similar to journal entries, so in some sense, the album was like Volume One. It's my high school life up to halfway through my college life. And I feel the pandemic definitely has been a huge separator in my life: I feel like a very different person after the pandemic, so my two albums "Late Afternoon National Anthem" and "everything is a dream, but it is your dream" kind of segment the two parts of myself that I feel are pretty different.



WHY DID YOU CHOOSE THE NAME FATHER KOI?

I was in a college band in my freshman year of college, and Father Koi was one of the names I suggested. My bandmates were like, we don't want that, and I was like, okay, I'll take it. But the story behind the name itself is I read an interview with the artist Lorde, and she was talking about how she got her name; she said she liked the LORD, but she added the "e" so it was taking a masculine name and making it more feminine. Father Koi is kind of in the same vein with "father," and because I'm not a guy, it's like, you know, an interesting juxtaposition. For the koi part, the Koi is a Chinese fish, and I'm Chinese. I want to have more representation of Asian artists, and I also feel there are a lot of artists who use Asian-sounding names who aren't Asian, and that just kind of rubs me the wrong way, so my name was my way of taking that back.


GOING INTO MUSIC WITH ASIAN PARENTS?

I have a full-time day job and then do music on the side. But I'm also grateful because my parents made me play piano when I was younger, and that definitely contributed to the musician I am now. My parents think the music thing is fine, but I don't think they'd tell me, okay, go be a musician. It's been all right, though. I really can't complain, and there's a lot of things that they provide to me, such as piano lessons growing up in a church that have given me the musical background that I needed. I really think the main thing that I envy are people who have parents who have experience in the art field because it gives the parent and child a mutual understanding. Sometimes all people see is, “Are you making money?” and I’m like, there’s so much more than that. There’s so much gratification and beauty in being a musician.

E: What's your day job?

I'm a data analyst.

E: Is there a whiplash? Do you feel like you have to create two different personas if you have such a…

Yeah, a little bit for sure.

E:  Yea, how is that? Cause I feel in terms of your future, obviously yes, make enough to support your passion. But do you ever feel like it is almost damaging to your identity at all? Do you get what I'm trying to say?

I kind of understand what you're trying to say. Some people feel very suffocated by a day job, but I feel like I've always been kind of ruled by structure in some way. And sometimes the art world can get so tiring. When you just socialize with people, and when you're forced to network with people, etc. I like talking to people, you know, people who are genuine and nice, but sometimes it's too much. So, some days, I'm excited to go to my day job to escape that. It’s not always like that though, especially on days like this, I was in the office for 11 hours today. I really wanted to go home and make music or something creative. And I work so much. If I could do part time that would be really ideal, so I could have structure but enough time to make art. I’m jealous of people who get to spend extensive hours on their art.

E: Is this a Hannah Montana situation, or like you got to work, and people are like, oh, shit, it's Father Koi?

No, no one at work knows who I am. I had lunch with this guy from my job, and he was like, “Do you have Instagram?” I was like, “Sorry… I don't give my Instagram to people from work.” Oh my god, I recently got my hair dyed this pink and green color, , and then they were like, “Oh, that's so fun!” Their reaction was  just funny to me. But I think they fuck with me, and I like them too. I just don’t talk about my music. If they ask me, "What do you like to do?" I say, you know, I have two cats. And I’m not lying. I love my cats.



DID YOU GO TO SCHOOL FOR MUSIC?

Yes. I went to Vassar and double majored in music and statistics, which goes back to the Asian parents thing. They were like, yeah, you can major in music. You just have to major in something else, too.


CREATIVE PROCESS BEHIND THE NEW ALBUM?

I think there's this thought that I've had throughout the making of that album: It's a marathon, not a sprint. There are so many moving parts to making an album, like planning the release show, collaborating with other artists, coordinating and directing the album cover shoot, making sure I’m documenting it all, creating content… I enjoy producing all my own stuff, but I like to co-produce with other people, so I was co-producing with a bunch of people. I had people mix and master it. But I love the process so much because I have already released my first album, so I kind of know what it's like already, but I wanted this one to be big and, you know, make the most that I could out of it. I also feel this album was - like I said before, the other albums were very Beatles, very indie - and this is very electronic pop, which was definitely an interesting difference from the first album, and I think a large reason is because I collaborated with a lot of other people, and it's so fun to collaborate with people. The first album was like, oh, just do it by myself. I wanted complete control over my art, but it's fun to, you know, open yourself up and be a little vulnerable with your art, and then great things can come from it.



STRUGGLES WITH COLLABORATION? HEARING OTHER PEOPLE'S OPINIONS?

Different visions. Sometimes what I'm afraid of is if I give my art to other people and then they do so much work, and then they produce something, and then it's not where I want it to be. So that happened to me once when making a song with someone else, and I just listed 20 items, and I was like, can you please fix all these things? But after all the edits, it did get better. But I guess this particular struggle is good for me too because it opens my mind to new things.

E: I guess, earlier, I asked you about the idea of identity and then working and being a musician. How is it like managing work because it is very corporate, right? How do you manage time to pursue music?

Great question. Um, let me think. I feel you just have to find pockets of time. For example, my last album. I created it over the span of a few years because it started in 2020. So I'll say, over the span of about two years, my last album was made. That's pretty normal, right? Yeah. I think so. I just found pockets of time throughout the day. Also, the majority of that time was when I was graduating college, and I was taking three classes a day, and I had so much free time to do shit. So, it will be interesting to see how the next few months pan out because I'm trying to shoot a music video. I put out a single, then I have my job, and then I want to hang out with my friends on the weekends. So you just do what you can, but I don't think that I can quit my job and say I'm gonna be a musician. That's very scary. I mean, unless I get signed, that'll be awesome.



WOULD YOU LIKE TO GET SIGNED? ARE YOU AFRAID OF GIVING OTHERS CONTROL OF YOUR MUSIC?

I'm a little skeptical. I don't know much about it. I’ve heard horror stories where artists sign away their rights and they have no control over their creative process and then they can’t leave.

E: I have a friend who got signed, and now she can't release music unless she makes a bunch of TikTok videos about it first. She was talking to me about how she really wants to put stuff out, but it's like, oh, this TikTok doesn't do well enough, and she's stuck not being able to release art, which just sounds so frustrating.

Yeah, but also, being signed comes with a lot of benefits. They do your marketing for you. It's so awesome. Because, oh my god, when I did a few tours at some colleges after the album dropped, and I just sent out like 75 emails, and three of them responded. So, if you're signed, those people have those resources, and they'll put in the time and money for you to play places, yeah, all you have to do is show up and play and be a musician and not a marketer, so it's a double-edged sword.

C: Speaking of performances, you did a performance at Smith College?

Yea, it was with Kilo Kish. I mean, it's not like she was playing with me, but Smith needed an opener. That's how it is at college shows. They have a huge budget, so they put all their budget into everything. I got, I think, around 400 dollars. But then I split it with my bandmates, and we had to pay for the gas and food and stuff. So I'm just like, this is why I work corporate jobs, so I can pay for shit.

C: Did they reach out to you?

I reached out to them, but this was before they had "Kilo Kish." And I guess they were looking through the emails, and they were like, "Please come play." And I was like, "Yes, please."


YOU'VE DONE A LOT OF LIVE SHOWS, ARE YOU ACCUSTOMED TO THEM?

Let me tell you this - when you play classical piano for so long, the bar is set so high that nothing will ever faze you again. This is a tangent but I was playing this one classical piano piece back in high school and it made me so nervous. Like I used to get nervous shits before these competitions. So I think I was playing this one competition, and then this guy like went on before me, and he did such a good job, and I was just sitting there like, what the fuck. So I went on stage, and I literally forgot how to play this piece, and it was really bad. So I'm saying I like going on stage now because the audience is not only there for your music, they're there for you too. You are the music. So if you fuck up it’s  part of your personality, it's part of this show, no one cares. And all your friends are there, and I just love performing. I feel it scratches an itch that I've always had, honestly.



DO YOU FEEL LIKE YOU ARE PAID ENOUGH FOR YOUR MUSIC?

I mean, I think I said before but because I have a full time job it doesn't affect me as much. I can definitely understand the struggle. I can only imagine the struggle for musicians whose lives depend on the money they make, but I am simultaneously jealous because they get to spend all their time doing what they love. When I go to a show, I don't think, “I'm gonna make X amount of money off of it.” I just remember I played a show with my other band, and we made like five bucks each. And that's just the way it is in the beginning. But I'd want to explore making music my career, and then I actually have to think about how it can support me financially. There’s a lot to think about.

But no. I don’t think a lot of musicians are paid enough for what they do. I talk to a lot of other artists about how they finance their art and everyone is kind of in the same boat, unless you’re really famous.


I WOULD DESCRIBE YOUR MOST RECENT ALBUM AS HYPERPOP. DO YOU BELIEVE IN THE LONGEVITY OF THE GENRE?

I have two things to say about that. The first thing is that I watched a TikTok the other day that this person made about how everything is popular right now. Literally everything. As long as you're aware with confidence, people will say, wow, like that person has “swag” or they have the confidence or like whatever. They're doing, you know, let people do what they want, and that's the beauty of the internet like nothing's ever gonna go out of style, or I'm just excited to see how that plays out in the future.

The second thing I have to say about that is my second album definitely has the Hyperpop sound, but it also has other songs like "New Years" and "Just to See You" that are not just Hyperpop, but bring in other genres as well. I was asking some of my friends about the album, and they were like I feel this is a Father Koi sound. They were like I don't even know how to describe it; it's just your sound, and I don't know what that means, but I kind of love that. I feel I've been thinking about that, too. Like, do I want to brand myself as Hyperpop? I feel like authenticity will always play a role in my music-making and in any artist's work, so as long as you stick to yourself, you really can't go wrong with that, right? It's the Father Koi sound.



E:  I think now, though, there's kind of a need for the "multifaceted artist" because it's not just enough to support yourself off one type of art form anymore. You know, now we have these musicians, but they are also directors or designers; they do some sort of branding for themselves. How do you feel about that? What are your other passions besides music? Will you ever like to give more attention to those other passions, or do you think music is the only thing you want to stick to for now?

I struggle with that a lot because I have an Instagram account for the clothes I make and the drawings I do, and I'm like, I don't want to put too much effort into that because it'll take away from the music. Music just lights such a spark in me. I love that feeling when I listen to a song, and I'm like, "Oh my god, that production's so good. I need to go analyze it right now," or make something inspired by it. I don't really think I feel as strongly when I draw or make clothes. I mean, maybe I will at some point, but music's my first love. It always has been so… well, I think [music] comes first as of right now. I don't really see that changing, but I also don't want to think about it like that. Like music first, this second, this third. I just do what I feel like. And I feel like my interests have overlap. For example, that knit set up there. I wore that [she points at a knitted piece in her room] to my album release show, and I made it beforehand. So I got to, like, you know, kind of combine my two interests together in that sense.



C: Oh, we talked to another friend who also makes music. The Jades. So we asked them how much of their songs are in real life, and your song "Emo Girls" is about a girl that ghosted you?

Wait, where did you read that?

C: There's a tweet.

Dude, sometimes I forget about my digital footprint.

C: There's so much of you on the internet. So, how much of your songwriting is real life? Because they said some of the songs are real life, but some are based on Twilight.

That's so funny. I can't get over the tweet. You read that. Um, a lot of me is real life. I journal a lot. A lot of my songs are from journal entries, and I almost feel in order to get through a hard situation, I just write a song about it. It was kind of a not-good way to think about it or like kind of the artist way of thinking about it, the “artist way,” but yeah, a lot of my songs are about real life. I purposely sometimes try to make the lyrics vague because I want other people to relate to them and just get something out of the music. So yeah, it's like each song is a journal entry.

E: Yeah, so I guess on the topic of being real, writing is an almost visceral type of activity where you pull out your feelings, you know, you're pulling really deep. How is that? Sharing your emotions, you know, is that scary?

I don't believe in cringe to the extent that a lot of people do because people are always growing. Even if I was “cringe” a year ago if I was someone I didn't like a year from now, I realize I didn't like that version of myself, so I've grown. Why should you be ashamed of who you were if you're different now? So people should just be themselves, which is why I don't understand people who are super judgemental. I mean, sometimes it's for a good reason, but yeah. If I cringe at myself, that means I have only improved or evolved since then, right?


HOW MUCH OF YOUR IDENTITY IS AVAILABLE ONLINE? IS THERE A DISTINCTION BETWEEN KARA AND FATHER KOI?

E: Like, how many people know about the corporate girl-boss lifestyle? Do you think you would connect with more people if they knew that you lead this kind of double life? Because I feel that is the most relatable thing an artist can do in this economy. 'Cause as an artist, it's already hard to sustain yourself already. So most of them are working waitress jobs, barista jobs, and then they're doing their stuff on the side.

You know, I’ve graduated from college and spent a lot of time in that art world, especially in New York City. It was kind of stressful at times. Don't get me wrong, I love it. I love meeting other creatives and just meeting other people who do cool things, like you guys, and you know, but you guys are not stressful. But sometimes some of these events are just, why is everyone so clout-chasey?  And that kind of makes me not want to tell people about my personal life and what I do. Because, as I said, it's giving away too much of myself. And I'm also very wary of that. Except I guess people who are reading this will know now, haha.

For example, I don't know, this is probably too much information, but I had a friend who dropped me back in the springtime. And they said, “Oh, it's because we're going in different directions.” And I know that part of the reason they stopped being friends with me was because I had a corporate job. So that's why that kind of thing made me feel people “look down on me,” for having a corporate job. Because it's like I'm working for the man, etc, I'm not being a “real artist.” So, I just prefer not to bring that up. Why should it matter? I don't want people to form their opinions about me about something I don't have any control over.



YOU LIVE FROM HOME STILL. DO YOU EVER GET FOMO?

I think I used to feel FOMO more. When I graduated college, I thought I needed to move out asap. But the way I see it is if there's an event I want to go to, I'll go to it, and I'll just get home at 4AM because I live so deep. That's simply the way it is. It's financially better here, I pay less rent than I would in Bushwick, so there's that, you know. It is a little hard though, because sometimes it’s so fucking lonely at home—like all of my friends live in either Manhattan or Brooklyn or even other parts of Queens that take an hour to get to from me, and I need to work early the next day. But I've developed this thing where if I'm on the subway for an hour, I'll be productive. I’ll just write copy or I'll knit or I'll do other shit, so actually the commute is kind of nice because it gives me pockets of time to do other stuff.


HOW DID YOU REACT TO THE RECEPTION TO YOUR SONG DREAMGIRL?

It was so shocking to me, I remember, because that was also the very first Hyperpop thing that I put out. The thing I put out before was a double feature that was pure indie stuff. So I remember seeing on the Spotify for artists app that 50 people were listening to the song at once, and I was like, “Oh, cool,” thinking they're probably just my friends. Now that I think about it, I don't think 50 of my friends have ever listened to my song all at the same time, but when I woke up the next morning my friend told me, "You're on New Music Friday!" And I was like, "What does that mean?" But once I realized it, I was like, "That's crazy."

But I think the actual impact of how far Dreamgirl went initially hit me more after because I realized there’s a standard I feel I have to reach now. And I don't think I'm gonna hit that anytime soon. That song got on so many playlists. So, I mean, knock on wood, I'd love to, you know, get playlisted again. But yeah, that shit was crazy.



HOW HAS THE INTERNET HELPED FATHER KOI?

It's so big, it's changed my whole life. I talked about how I was different before the pandemic. And the pandemic changed, like, I think it changed a lot of people's lives. I'm not just speaking for myself. Before the pandemic, I've always had an idea of the kinds of people, you know, like just other creatives that I've also wanted to hang out with and make music with, and the internet helped me to do that by connecting me with people who had similar interests. And it just felt very freeing, and it still feels freeing. After I graduated from college, I found the music scene here, and I was like, this is awesome. So yeah, the internet has helped me a lot. But, you know, it's a double-edged sword. It sucks a lot of the time, so I'm very scared of AI and the future that chat GPT has for us, but there's not much I can do about that.

E: So, how do you deal with any negativity that you face on the internet? Is that a huge thing for you?

C: They were violating her on a reel, saying that her things don't match, or were they leg warmers?

Oh my God.

C: They were like, damn, the ugly ass leg warmers, and I saw this other comment that was like, "This shit is so ugly."

It's so funny because, oh my god, I was such a people pleaser when I was in high school. So back then one of those comments would have set me into a seizure. But now, I feel I'm kind of used to hate.

C: You think it's good that you have haters? Like everyone needs to have haters. How do you feel about that?

I mean, I just don't understand why my haters don't like me. Like I haven’t done anything explicitly wrong, but I guess people just don’t like people sometimes.



FAVORITE PART OF CREATING MUSIC? LEAST FAVORITE PART?

So many favorite parts. I love collaborating with other people. I think it's so fun. I love making music by myself and that feeling of "Wow, this is like a great song." Designing album artwork, organizing things, taking charge and directing and also the beautiful moments when I get that DM from someone I’ve never spoken to in my life saying, “I love your music.”

My least favorite part… I really hate competition. I'm gonna be honest about that being a thing for me, and I don’t feel ashamed of it because I think a lot of people feel it too. Sometimes, you just have to put down your phone. It's just a lot sometimes. 'Cause I feel when you compare yourself to others, you just discount all the work that you've done.

C: What's your best song?

The song that I really like now is my song "Silk". I wrote that song in a pretty dark period in my life, and I feel it was very cathartic to write it and to document that experience. I feel a lot of people can relate to its lyrics. The worst song… hmm, I don't want to say I have the worst "song" because, as I said, I don't believe in cringing about my past life. Maybe I will take that back in the future, but definitely some of my old SoundCloud stuff when I first started making music like no one's ever gonna see that I also went through a rap phase-

*COLLECTIVE GASP*

C: What was your rapper name?

I didn't have a rapper name. Father Koi is actually kind of a rapper name.

E: Can you give us a 16-bar real quick?

No.

E: 8 bar. 8 bar.

I will not utter one word from that song that I wrote.

E: Oh, you wrote a whole song?!

I was like sixteen. It's never seen the light of day. That's cringe. Alright, I take back what I said before about cringe… that was genuinely cringe.



DOES YOUR ASIAN IDENTITY PLAY A BIG ROLE IN YOUR MUSIC?

I don't write a lot about it. It just kind of exists.

E: You're just Asian?

Yeah, I'm just Asian, bro, that's literally it. Just so happen to be. What I will say is I love collaborating with fellow asian artists/people who are non white because I feel like the music space is super white. So if I get the chance to connect with someone it’s actually such a beautiful unconscious collective feeling.

E: Like you could be anyone; you don't have to be Asian? You'd still be Father Koi?

I feel it's hard to be white nowadays. Maybe you shouldn't put that in the interview. But it's like, oh, like people shitting on you just because you're white. Like at this point in NYC society I wouldn't want to be white. Maybe in the south or something. But imagine me trying to promote my music as a white person in NYC now.

C: Well, I mean, you probably got like a 30-year head start in the game.

My dad would probably produce music. That's probably true. Okay, maybe I would choose to be white… just kidding.

E: Honestly, I kind of get it, though. Because sometimes I'll be listening to a random artist, like on Spotify or something. Then, if I find out they are white, I lowkey won't enjoy it as much anymore.

C: I'm gonna hate.


WHAT'S NEXT FOR FATHER KOI? FOR KARA?

I want to put out a new single, then I'll put out another single. Then I'll release an EP. I have a lot of demos that I wrote on guitar, and I showed them to my drummer, and he was like,

"These are so good. We should make another indie album." And I was like, "I don't know how I feel about that because people will see that I was just jumping all over the place." But as I said before, there's a Father Koi sound, so fuck it. I'll just make the music I want to make.

E: What are your main influences for this upcoming project? What are you listening to a lot of?

A lot of '90s. 90s Japanese bands, like Tommy February6 or shoegaze like Airiel, even stuff out of the overall 90s/2000s genre like Green Day. I listened to... um, I thought the Pinkerton album was good by Weezer until I realized he literally has yellow fever. But the music's really good.



DO YOU FEEL THE CONSTANT NEED TO POST ONLINE TO STAY RELEVANT?

Yes.

C: That was a short one.


DESCRIBE YOUR MUSIC IN ONE WORD.

Is it a cop-out, but if I say authentic?

C:
No, no one is saying it.

E: You can say whatever the fuck you want. You can be like "good."

Oh, I could also say nostalgic. 'Cause it's about journaling, happy memories, sad memories, stuff like that.

E: Alright! Do you wanna do any shoutouts before we wrap up?

Shout out to literally anyone who has listened to my music, supported me, or given me advice. Shout out to you guys. Shout out to… Shout out to everyone! Even my haters. I love you all.

I don't. I wouldn't go that far. Yeah. I actually… Actually, fuck you.



HUGE THANK YOU TO KARA FOR AGREEING TO DO THIS & LETTING A BUNCH OF RANDOM STRANGERS INTO HER HOME! SHE MAKES A LOT OF GREAT MUSIC SO GO AND CHECK HER OUT!


www.fatherkoimusic.com

STREAM FATHER KOI <3



CREDITS


SUBJECT/BRAND : FATHER KOI @fatherk0i

PHOTOGRAPHER : LAURA SONG @gh0stpimp 

MODEL : KARA LU @fatherk0i

EDITOR: E&C* @acediastudios

TEXT : E&C* @acediastudios