That sense of rebellion pushed her out dancing nearly every weekend. Back then, she said, she didn’t even worry about whether the music was good. The club “is one of those places where everybody goes for the same reason,” she said. “In a club, it doesn’t matter who you are, what you do or where you’re from.”

She moved back to Korea when she was 18, but felt more comfortable in London and, about six months later, decided to study fashion there. In 2011, while out dancing, she discovered deep house, a subtler genre of dance music than the EDM she’d been accustomed to. Albums like Roman Flügel’s “Fatty Folders,” from 2011 — a high-water mark for left-field techno — permanently changed her palate.

“I listened to it and my jaw just dropped,” she said. After that, “I became a nerd.”

She was encouraged, first to D.J. and then to make her own music, by people with whom she had personal relationships . Her first love, a Kiwi EDM fan whom she met in Korea, taught her to D.J. in 2009. Four years later, a Facebook friend offered to teach her how to use Ableton, the music production software, and she began to create her own tracks. The first draft of “Hungboo” was completed in 2014.

Two years later, she released a burst of music, including the EP “Seek for Maktoop,” on Ninja Tune. Word of her talent started to float through the underground, and she began securing bigger bookings.

“I was seeing her name pop up places,” said Tim Sweeney, who hosted Gou on his radio show Beats in Space in 2017. “She was part of the Berlin scene, the names that were always at Panorama bar or Berghain. She did a great D.J. set for us. The one thing that I remember that was different: She only brought CDs.”