Ukiyo no Kiroku: Oxinym/Koji Koi
In music, having an alter ego often implies a search for freedom or an escape from expectations. However, in the case of Oxinym and his second identity, Koji Koi, we are not dealing with a bifurcation of styles, but rather a double manifestation of rigor.
For Ukiyo Studio, the essence of value lies not in popularity, but in Honne (本音), the unwavering integrity of production. This artist has forged two paths that are equally solid on a technical level. Oxinym represents the consistency and standard of his main sound, while Koji Koi acts as the laboratory, the expression of his architectural vision put to the test in experimentation.
On June 29, 2021, Oxinym would be present on platforms with their album “Circle,” a project consisting of 12 tracks, of which only 3 managed to stand out from the rest. One of them is “Dreamwalkers,” a single that stands out for its rather simplified melody, with a background sound of rain, reflecting a concept that, from my point of view, is interpreted as “The space of being in the same place all the time, repeating the same cycle over and over again.” Maybe that concept I interpreted sounds a bit out of place, but it’s the best I can imagine, and not just with that single—this concept is wrapped throughout the entire album, and for the better. That was not all, because with just one month since his first project was released, he would upload what is known as a "second part" of the album to platforms. Named "Circle Lofi Mixtape," which would serve as a continuation of its predecessor "Al cuadrado." And why? Well, the album consists of more than 34 tracks and of course, it makes sense since, as its name indicates, it serves as a Mixtape, so it should not be considered an album as such. It's impressive how many of the singles work together, with several examples such as "One Day," "Tranquil," "Horizon," among many others. "Cloud" can be considered a single that put him on the map, as its production and technical mastery were very noticeable, and this track showcased that very well, with excellent composition. Oxinym was gradually standing out.
The following year, he would release two projects, “Dawn” on March 1 and “Mikazuki” a month later. The latter would further highlight his Japanese Lo-Fi style. I won't talk much about ‘Down’ since, out of the 12 singles, “Today I Feel Like...” stands out the most. Despite being a conventional Lo-Fi song (like the entire album), it stands out for its simplicity in composition. On the other hand, “Mikazuki” manages to generate a unique style that Oxinym improves upon over time. -Fi (like the entire album), it stands out for its simplicity in composition. On the other hand, “Mikazuki” manages to generate a unique style that Oxinym has continued to improve over time. “Mikazuki Munechika” is undoubtedly the best of all in this work, as the way he combines Japanese instruments with modern Lo-Fi drums is incredible.
Then, as time went by, Oxinym began releasing singles with record labels such as Lifted Lofi Record and Chill Moon Music, among others. By 2024, he had released a single that, to be honest, made me wonder: Who is Koji Koi? On March 22, 2024, he released his single “Bushido,” which, honestly, is one of this artist's best tracks. Of course, it's strange to know that Koji Koi and Oxinym are the same artist, and the “why?” he decided to appear under another name and, even more so, to collaborate with himself is interesting. We will take this counterpart as an alter ego. And that's not all. as he would also appear as Ghøst and Vanilla Moon, although the latter would be a separate case, since, despite fulfilling the same experimentation as Koji Koi, Ghøst focuses more on ambient music and Vanilla Moon was more rooted in what would be conventional Lo-Fi, so despite going unnoticed, Koji Koi is usually the one Oxinym is most dedicated to.
On Oxinym's side, in the fall of the same year, he would release “Ronin,” his latest work to date, but only under the name Oxinym, since the following year he would release “Fuji,” this time as Koji Koi. Starting with “Ronin,” we can say that it is his best and most complete album, surpassing ‘Mikazuki’ and, in my opinion, even better than “Fuji.” The use of Japanese instruments such as the Shakuhachi, the Koto, and the Shamisen stands out, the latter being the main instrument in many of the artist's singles, transporting us to that cultural atmosphere. “Soul Of The Sea” is one of the great singles from this work, standing out for its relaxing and melancholic vibe. There is not much to say about “Fuji.” The album is shorter but stands out for the expressiveness of its sounds. The way the melodic notes of the instruments move freely through each of the tracks is admirable and worth studying. Despite being his latest work to date, it does not surpass the technical mastery of “Ronin.”
Despite all this, the artist has managed to improve over the years. My first impression was with Yotsugi's single “Funashima,” which ranked No. 1 on the Top Shinsa chart last October.
In a Lo-Fi ecosystem where the temptation is to produce tirelessly for the algorithm, diluting rigor and promotional effort, Oxinym and Koji Koi's Dō (Way) stands as a challenge to this norm. The true test of their excellence lies not in the volume of their discography, but in the dual consistency and purity of intention they maintain on both fronts.
Koji Koi's existence is not an excuse for careless experimentation, but rather a test of maturity: Architectural Vision can only take risks when Honne (Technical Integrity) is unwavering, ensuring that even the most daring tracks remain polished and professional.
This artist demonstrates that prestige in music is not built by filling a repertoire, but by maintaining discipline. Oxinym / Koji Koi are not just producing music; they are setting a standard. He is an artist who values individual work, and that is why, at Ukiyo Studio, we celebrate his dual legacy.