ATEEZ Once Again Push Their Limits With GOLDEN HOUR: Part.5

Photos: KQ Entertainment

After months of anticipation, ATEEZ made their comeback on June 26 with GOLDEN HOUR: Part.5, the fifth installment in their Golden Hour series. Building on previous chapters, the group moves toward a brighter, more sensual narrative. This new release confirms an artistic direction that is more fluid and groove-oriented, featuring summery tones and a more instinctive approach to music.

Comprising five tracks, the EP follows a cohesive flow in which each song seems to extend the one before it. Hongjoong and Mingi once again contribute to the songwriting, reinforcing a hybrid artistic identity that blends performance, production, and musical storytelling.

TRACKLIST – ATEEZ – GOLDEN HOUR: Part.5

1. “BAD”

2. “MAMACITA”

3. “TOXIN”

4. “Fallin”

5. “Body”

SO BAD

From the very first shots of the music video, a central theme emerges: an inescapable attraction. The group portrays characters literally captivated by a female figure whose presence acts like a magnet. The song thus suggests a kind of total spell—they are aware of the danger and the loss of control, yet unable to break free.

This concept is visually conveyed through a series of symbols, including one particularly striking detail: the seven rings already adorning the woman's fingers before San adds the eighth. This image serves as a metaphor for a system that is already complete, to which a final piece is added.

Musically, “BAD” reinforces the impression of controlled obsession. The chorus, in particular, adopts a repetitive and almost hypnotic structure, echoing the energy of certain American hip-hop and R&B classics, specifically tracks like Snoop Dogg’s “Drop It Like It’s Hot.” This influence manifests not as a mere stylistic imitation, but through a more conceptual approach, music designed for the body. The chorus becomes a space for physical liberation.

This dimension is directly reflected in the choreography, which takes center stage in the music video. The performances are deliberately sensual without ever veering into excess. The final sequence perfectly illustrates this approach, featuring choreography defined by chest movements and an energy reminiscent of Latin pop performances, evoking the style of Shakira. This reference is significant, as it aligns with the lyrics and the track’s overall atmosphere, hinting at a deliberate Latin influence in the song’s composition.

The music video then takes a more narrative and symbolic turn with a courtroom sequence in which the female character stands trial. Conflicting placards, such as "FREE HER" and "BAD" perfectly capture the ambivalence of the gaze directed at her. The final "not guilty" verdict reinforces the video's overarching message: the woman is not guilty of being dangerously attractive, seductive, or "too much." She is judged not for her actions, but for the effect she provokes. The video thus subverts the traditional perspective on desire by highlighting the projections and loss of control experienced by those watching her.

Visually, this concept of duality is further underscored by the costumes. The rock 'n' roll/1950’s-60’s-inspired dresses, reminiscent of the rockabilly aesthetic and icons like Marilyn Monroe, evoke an era when femininity began to be expressed more freely, confidently, and individually. These outfits, at once elegant and bold, become symbols of freedom and identity formation. In this context, the female figure in the video represents not merely an object of desire, but a projection of freedom: the freedom to exist without being reduced to a moral judgment.

Blending minimalist groove, vintage aesthetics, and judicial symbolism, the music video presents an interpretation that is ambiguous yet coherent, that of a desire transcending simple notions of good and evil. “BAD” does not pass judgment; instead, it observes a state of being, that of feeling irresistibly drawn to what lies beyond one’s control.

MOVEMENT AND SENSATION

While “BAD” lays the groundwork for a new era with an approach centered on attitude and rhythm control, the rest of GOLDEN HOUR: Part.5 builds on this direction by exploring various nuances.

“MAMACITA” stands out with a sunnier, Latin-infused energy. The track leans into a dance-oriented vibe where rhythmic influences take center stage.

With “TOXIN,” ATEEZ introduces a darker, more immersive mood. The song plays with a heavier, almost hypnotic atmosphere, where sound textures envelop the vocals. It offers a more introspective exploration.

“Fallin,’” more ethereal and melodic, relies on softer vocal tones and a sense of weightlessness, evoking a suspended moment in time.

Finally, “Body” closes the mini-album on a more direct, rhythmic note. The track brings together the various influences heard throughout the project: groove, sensuality, pop energy, and R&B textures.

Overall, GOLDEN HOUR: Part.5 establishes itself as a project built around a simple yet effective concept: movement and sensation.