Key Explores the Psyche with the Sonically Inventive “Hunter”

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Few K-pop soloists have an artistic vision as clear and distinct as Key‘s. His third full album Hunter remains consistent with his dramatic synth-driven style, but innovates with more experimental production. Embracing a psychological horror theme that contrasts with the kitschy retro-futuristic concept of Gasoline, Hunter combines bold musical choices and emotional depth. In terms of using production to fully realize his themes and concept, Hunter might be Key’s most accomplished album yet.

The title track “Hunter” serves as a perfect introduction to the album, musically and thematically. The song’s lyrics seem to depict a toxic, obsessive relationship, with Key calling the other person “my devourer.” The music video, however, portrays Key’s internal battle with different personas. “Hunter” thus illustrates an interest in dark sides of relationships, whether with self or other. With its heavy kick drum and rhythmic bass line, the song reinforces the hunter metaphor. “Hunter” is also one of the most vocally dynamic tracks on the album. The guitar riffs and synths in the chorus add to the dramatic highs and lows suggested in Key’s vocal progression, fitting the intensity of the song’s themes.

Much of the first half of the album explores the darker impulses of human nature, with discordant sounds to match its subject matter. In the punkish all-English track “Strange,” Key declares, “yeah, we all got something to hide / Skeleton buried deep in your mind.” The chorus features Key singing “ain’t it kinda” in a distorted high pitch, followed by “strange” in a lower register, surrounded by harsh, frenetic synths.

“Want Another” goes even further with its experimentation, incorporating multiple switch-ups. Key raps in some sections, while in others, the producers apply some glitchy vocal effects or add reverb. Key acts as an alluring, but dangerous presence: “Even if you block me, you can’t / I’ll break through your system.” The various effects and tempo changes keep the song unpredictable and compelling, much like the speaker himself.

Other songs on Hunter utilize production choices and vocal effects to explore psychological states of mind. The midtempo house song “Picture Frame” alternates between soft vocals in the verses and glitchy, chopped alterations in the chorus as it depicts the feeling of being “somewhere exquisitely between reality and dream.”

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Meanwhile, the atmospheric, synth-driven “Trap” delves into self-doubt. Its refrain “and again and again and again” is hypnotic. While repetitive, the refrain aptly reflects one’s seemingly endless internal critic. This voice is both self and other, reflected in the layered harmonies of Key with a female background vocalist. A similar layering occurs in the bridge, where Key tries to reassure himself, “it’s not my fault.” Key adopts similar patterns (intentional moments of harmonization, mantra-like repetition in the post-chorus) in “No Way!” In contrast to “Trap,” however, “No Way!” has a confident, laid-back groove. It serves as a counterpoint to “Trap,” with the speaker insisting he will be okay in spite of the “games” that others play.

In the second half of the album, the mood lightens and the production becomes somewhat less experimental, “Picture Frame” notwithstanding. Kenshine (producers Kenzie and Moonshine) bring the upbeat and danceable tracks “Glam” and “Infatuation,” the latter featuring Eunho from Plave. The former song, an anthemic electropop track with thumping beats, fully projects Key’s fierce self-confidence, as he announces, “I’m gonna be the party… be iconic.” There are still some harsh textures in the synths, but Key’s sing-talking rises above them. Fittingly, in the pre-chorus, he declares, “I’m gonna throw myself and enjoy it all / Even contradictions are okay.”

Hunter loosely depicts a journey toward self-acceptance and authentic connection. Its structure is not entirely linear, but the album ends optimistically with “Perfect Error”, a duet with Red Velvet’s Seulgi, and “Lavender Love.” Warm and breezy, “Perfect Error” resolves the self-doubt expressed in “Trap.” Like that earlier track, “Perfect Error” utilizes a repetitive post-chorus, asserting “I’m gonna, I’m gonna / Gon’ make a better day.” Both Key and Seulgi bounce effortlessly through their vocal runs and fit seamlessly with each other, showing the self-assurance that Key has found at this point in the album’s narrative.

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Many of the album’s tracks distort Key’s vocals for artistic effects, but the dreamy pop song “Lavender Love” fully exhibits his emotive singing. The layered harmonies and his ascending run on the line “I want that lavender love” convey his conviction. “Lavender Love” is a touching and uplifting way to end the album.

Hunter features a variety of styles and genres, but ultimately creates a coherent narrative, resolving internal psychological tensions and finding clarity about oneself. The experimental choices in production not only expand Key’s musical repertoire, but also help drive the storytelling. With its bold production and cohesive concept, Hunter is one of the most striking releases of this year.

(YouTube. Lyrics via Genius: [1][2][3][4]. Images via SM Entertainment).