KUN washed away his pretty-idol image with new album “KUN”
Last May, when a deep, rich voice rose from the first line of “Deadman,” as if coming from a Motown-era vinyl, people wondered, “Is this the KUN I knew?”
It’s hard for many to associate the music with the image they have long held of KUN: a Chinese idol long deemed effeminate and flamboyant, whose traffic far exceeded his talent.
After winning the popular music talent show “Idol Producer” in 2018, KUN remained in the spotlight on screen until a 2023 sex scandal led to his blacklisting from the mainstream.
To Chinese audiences outside his phenomenal fandom, iKun, KUN was a buzz fixture, not a musician. After all, few can escape his classic internet meme “chicken, you are so beautiful” (ji ni tai mei), born from Chinese NBA fans’ satirical pushback against the feminine-coded idol culture invading their masculine arena.
As a songwriter-singer, KUN established a surreal, psychedelic persona through his popular single “Lover” and his debut album, “迷” (Mi; Mystery), consistently using a falsetto as airy as his physique. His stage look evoked a neo-Victorian romance with a dangerous, alluring edge. Collectively, these choices built a boyfriend fantasy that resonated more with iKun than a wider audience.
It’s not surprising that some couldn’t believe their ears when listening to KUN’s pre-released retro singles “Deadman,” “Jasmine,” and “What a Day,” which offer a less-embellished yet more advanced version of him, or even a “manly” version to some cynical males. He showcases an impressive variety of vocal expressions, from smooth shifts between a thick, chesty voice and a falsetto-like head voice to well-managed distortion and soulful vibrato.
In his first full-English self-titled album, “KUN,” released via 88rising in February, KUN maintains his psychedelic mark while expanding into more styles. His previous works, like “Remedy,” already reflected his love for retro, but this time he delves deeper into the old-school, bringing it into new forms.
Spanning retro soul, R&B, alternative rock, and synth pop, the 11 songs cohesively convey a sense of coldness and isolation that one can appreciate and relate to without knowing who KUN is.
The tracklist’s transition from retro influences to futuristic experimentation mirrors his self-discovery journey and evolution.
The opening track, “Honour,” unreservedly invites audiences into KUN’s musical world, featuring choir-style harmonies and earnest lyrics that address listeners as his “guest of honour.”
In the following tracks, he brings back the timeless sounds of the ‘60s, transporting audiences to the Golden Age of Motown and Broadway. The deep bass line enhances the soulful textures of “Deadman” and “Jasmine,” while the brass makes “What a Day” and “Back in Time” sound as glittering as the good old days.
Inserted between the nostalgic tetralogy, “Don’t Call,” detours into a dream-pop haze. Despite its light melody, the looping “Don’t call my phone” and the 40-second guitar outro build the feeling of a moody, struggling night.
A serenade, “Night Into Night (Interlude),” serves as a watershed between the dreamlike past and the brutal present and future.
In the last four tracks, KUN opens up to broader musical dimensions with indie, synth-pop, and Shoegaze elements, moving beyond the familiar glamour of Michael Jackson or Bruno Mars.
“Paranoid,” “Washed Away,” “Colder,” and “Fool” depict an arc of mental growth: from emotional tension to rebirth, from confronting loneliness to a final self-acceptance.
“Washed Away” delivers a cinematic-scale work through progressive sonics, using gradually layered instrumentation and KUN’s changing vocals. Following his belts out “I’m drowning” in the second chorus in a heart-shaking way, a percussive variation creates an energy burst that signals a rebirth. This number serves as KUN’s official farewell to past doubts and noise and as a central statement of his comeback as a devoted musician.
The music video for “Colder,” shot in Iceland, features an apocalyptic aesthetic and complements the song’s rock sound, evoking the feeling of driving through an empty, vast landscape. Appearing as a polar-region version of Robinson in the video, KUN sheds his idol's gloss entirely and embraces the sounds and visuals that truly live in his heart.
While this album is more of a transition than a breakthrough, it’s a big step for KUN: his music now speaks louder than the buzz. It’s worth anticipating where his style will land.