Being able to stand out amongst the ever-growing K-pop groups of today is no easy feat, but ATEEZ makes it look simple, as proven by their tenth mini-album, Golden Hour: Part 1. The eight members have said goodbye to their pirate world but still provide the treasure with six golden tracks. Following the success of 2023’s single Crazy Form, they became the first K-pop boy group to perform at Coachella. Thanks to that fiery set, they attracted a new wave of fans as well as the attention of the media to what they could achieve next.

Over the six years since their debut in 2018, they have successfully managed to establish an image that works for them. In what can feel like a copy-and-paste world where K-pop concepts are concerned, they have created their own themed universe that began with their debut single, Pirate King. The series concluded with 2023’s album The World Ep. Fin: WILL. That said, Golden Hour: Part 1 is the first instalment in the Golden Hour chapter. Their creativity gives them a more mature edge, which can feel rare in an industry where boyish charm is a popular phrase used to market artists who either haven’t quite found their identity yet or are happy to stick with wholesome pop numbers.

The first track Golden Hour begins with a story, a narrative describing the beauty in life, and is a fairly touching start to the album. It seems like a passage from a self-help book on how to romance your life and question what makes people happy, “Could living for the moment leave / Our hearts feeling emptier? / The moments of laughter with friends / Quiet family dinners, relaxing weekends / With loved ones / Could these be the real golden hours / Of our lives?”

The boys have mentioned many times in interviews that they have always been influenced by a wide range of Latin musical styles. That was shown in 2023’s Arriba, and in comparison to the next song Blind, that was just a small taste of what was to come. Hongjoon’s phrases of “cha cha cha” bring that dance floor to life and is joined by a cocktail of sounds such as samba rhythms, drums, trumpets, and the lyrics in Korean and Spanish singing, “Dance tonight, in this burning night / Queen of the night, star of my eyes /Wake me up with your gaze /Take my soul, take my heart, El Amor es ciego (Take my soul, take my heart, love is blind; Oh, ayy.)” It’s a track that will undoubtedly go down well live at future shows with fans, and, surprisingly, this wasn’t chosen as the lead single.

However, the title track, WORK, has abandoned the sea-shanty pirates in favour of a mid-tempo hip-hop Latin-inspired number. They always know how to consistently create catchy choruses, as seen in hits like Guerilla and Bouncy. The same happens with WORK, as it won’t leave your brain for quite some time, repeatedly chanting as a little reminder – or a motivating push – it’s for you to decide, singing, “Gotta, gotta, gotta work (Hey) / Gotta make that money, make purse (Gotta make it) / Got a fur coat, so I make it purr (So I make it purr) / Gotta get that credit, get perks / Gotta, gotta, gotta work.” Whilst not necessarily deep, it’s the perfect song to blast as you walk into work in the morning to get motivated. 

As for the accompanying music video, it’s an interesting watch, as the fun lies in trying to hazard guesses as to how the golden concept relates to the pre-released teaser posters. There are moments where it’s confusing to say the least but perhaps at a stretch it’s slowly breaking away from their pirate lore, as what are they famous for loving? Gold, which is subtly featured throughout for the viewer to visually interpret from gold diggers to the Spanish lyric, “Ganso que pone huevos de oro (translating as the goose that lays golden eggs). Perhaps hinting that they are the goose that continues to produce gold in the form of music. 

Continuing with the rest of the mini-album, they do a great job of showing their range with the pop ballad Empty Box. A delicate tale about a confusing break-up, beginning with a chorus featuring the vocals of San, Seongwha, and Jongho, “I’ve been searching for an empty box, that’s what I need / The memories you left in the drawer of my room / It makes it feel like a rainy day / I think I should send it now / And I’ll never miss you / I’ll never miss you / And I’ll never miss you / I’ll never miss you.” By saying the phrases over, as a collective, it’s as if they’re attempting to convince themselves of their inner conflict. Even though it’s one of their strongest songs out of the tracklist, it does seem a little disjointed against the general vibe of the release itself which is essentially a wild party. 

That aforementioned chaotic rave is brought back with the final two songs, as Shaboom snaps the listener out of being love-sick with a loud knock on what appears to be a hollow door. This could perhaps be a metaphor to the empty box in the previous track. Once opened, it leads to rhythms of afro-beats and facing life post-heartbreak. They continue to tell themselves or those listening that once again they do not care, “I don’t care about what you think / ‘Cause I just want some more (Yeah).” It feels like a heart hangover, and whilst it has its strong moments, the arrangement is a back-and-forth of EDM bass, which is very in tune with the fourth-generation trend where random noises have meshed with repeated words. Whilst it can be enjoyable to listen to, nothing new has been produced, and just when it appears as if progression is being made, it then suddenly stalls and hasn’t fully shifted. 

Concluding the album is Siren, which starts strong and has a good message of their power and determination to their own path to success, with Mingi rapping how they’re “Born with natural talent.” But it quickly loses its way, and the last two tracks end up acting more as fillers that have no real direction. What would have been more interesting was if they had kept the first four songs as an open door for Golden Hour: Part 2. If one were to go back to the start, it seems that for them, their golden hour consists of dancing into the early hours, forgetting their troubles, and figuring themselves out as young people tend to do. But without a doubt, ATEEZ are a strong force in the industry and will continue to cement their place as leaders in the fourth generation. They’ll be starting their North American tour this July, with the European leg scheduled for January 2025.

Written by Kirsty Bright

Featured image courtesy of KQ Entertainmnet

_{View of the Arts is an online publication that chiefly deals with films, music, and art, with an emphasis on the Asian entertainment industry. We are hoping our audience will grow with us as we begin to explore new platforms such as K-pop / K-music, and Asian music in general, and continue to dive into the talented and ever-growing scene of film, music, and arts, worldwide.}