ATEEZ Discography Statistics
Tagging those who expressed interest in the finished post: @turtledove824, @thirstkanaphan (that anon response you tagged me in recently gave me some much needed motivation to wrap this up LOL), @jjjjjlllll248
Hello! Welcome to a long overdue post for which I posted a preview way back in September 2024 (I’m so sorry), about ATEEZ’s discography statistics. This started as a personal project I would occasionally work on during company time (lol), after seeing the boys live and going on a discography marathon for multiple weeks. I then proceeded to ignore this for a year while I was back in school—though any time I got a note on the preview post or a mention in relation to it, I knew I would have to finish it!
So here I present: ATEEZ’s entire discography broken down to produce various stats related to line distribution, albums, and thematic continuities. I have also linked my entire spreadsheet at the very end for anyone who wants to get a better look.
Before we dive in, I want to preface this with a couple things. First, I adore ATEEZ and their music, but have been in and out of the fandom over the years when life gets busy; and in general, I wouldn’t say I’ve been super invested in K-pop lately. So my goal for this post is mostly to present some numbers and cool trends I found, and not really to discuss or interpret these numbers in a ton of depth, since I might be missing some context to do that. Second, I am a STEM major and business minor but not a huge stats or data person. I just have experience with (and a lot of love for) spreadsheets. Finally, I started this project for the sake of having fun and making yet another pretty spreadsheet, so none of this is to be taken too seriously. If anything, I’d just like us to appreciate ATEEZ’s crazy discography and how math and data can be interesting!
With all of that out of the way, let’s get into it.
I. Data Sources and Assumptions
All album information (titles, song lengths, release dates, and album classification such as EP, full album or single album) were taken from Spotify.
Line distributions for songs were taken from various YouTube creators (which are listed at the end of this post) depending on availability. Note that there may be some inaccuracies, i.e. one member’s line could have been mistaken for another’s on occasion, or one video may count shared lines/ad-libs to the total distribution while others may not. This is not at all a criticism of these channels, errors happen and that is perfectly okay, but something to keep in mind for this breakdown. Thank you to all of these channels for making these videos for the fandom!
Some assumptions I’ve made to keep this breakdown more manageable:
OSTs and collaboration songs (e.g. with Kim Jong Kook, BE:FIRST, Eden, etc.) have been excluded. However, any remixed tracks featuring an artist are included.
Solo songs (e.g. Mingi’s mixtape) have been excluded.
Remixed tracks and language versions of songs have not been considered for line distribution.
II. Discography Statistics
All stats are accurate as of writing this post (December 18, 2025).
Album Stats
ATEEZ has released:
15 Extended Plays (EPs, “mini albums”)
11 Full Albums
12 Single Albums
Of these releases, 7 are what I will refer to as “remix releases” (containing no new songs, and only remixed songs) and 2 of them are “translation releases” (containing only different language versions of an existing song).
Song Stats
As of December 2025, ATEEZ has released 187 unique tracks: this amounts to 9 hours, 53 minutes and 46 seconds of music, and about 23 songs per year since debut. Remember that this is NOT including OSTs and collaboration songs.
On average, an ATEEZ song will run for 3 minutes and 11 seconds. I’ve sorted their songs into the following categories and calculated the percentage they take up in their overall discography:
Nothing too surprising, overall, although I will point out the number of intros, interludes, and outros. ATEEZ is one of those K-pop groups that has phenomenal track listing and transitions within their albums, which makes for a great listening experience and subtle story-telling. Transitional tracks make up 10.2% of their discography—13 of their 26 EPs and full-length albums have one or more transitional tracks, and intros are often included in remix and translation albums, something I don’t think I’ve seen done by any other group (I could be wrong though, lol).
Song Version Stats
The below table summarizes the number of versions for songs that have remixes or translations.
Ice On My Teeth has the most versions: the original track, 5 remixes, and an English version (and an instrumental track, which I am not considering).
III. Series Timelines and Release Timing
Since debut, ATEEZ has been releasing albums in series, each with its own concept, themes, and timeline within their lore (please don’t ask me anything about their lore, I really couldn’t tell you). Below is a summary of their series thus far, start/end dates, and how long each took to complete.
The consistency in completion time for Treasure, Fever, and The World is surprising (but maybe just to me, because I was out of the fandom loop during the end of Fever and start of The World): 1.3 to 1.4 years on average. Note that the Golden Hour series has yet to officially conclude, and I’ve used the release day for Part 3 for now; but going purely off of the historical stats, we are overdue for a conclusion. Though to be clear, this is not a complaint, just an observation—because an entire series comprising 3-4 album releases every 16 months is absolute insanity, and puts into perspective just how busy the boys have been.
Speaking of busy, here’s a look at the time between releases:
Remixes are usually dropped 2-5 days after the original song, and although the boys aren’t the ones stuck in the studio for these ones, it’s still quite impressive how much is lined up for a given comeback.
In terms of major releases (main installments of the aforementioned series), their fastest turnaround time was for “TREASURE EP.2: Zero to One,” released just 83 days after their debut album—which makes sense from a strategy perspective, as the goal was probably to recapture people’s attention as quickly as possible after their debut. The longest we’ve had to wait for a major release was 322 days between EP.1 and EP.2 of The World series, although HALAZIA and some Japanese music were released in the meantime.
Up until the Golden Hour series, ATEEZ has really enjoyed teasing future title tracks through song: the first instance of this being San’s line at the end of “Beginning of the End,” which turned out to be the chorus of “Answer” 3 months later. Below is a summary of song previews they’ve sneakily given us throughout the years.
My favourite has to be the last few seconds of “Outro: Long Journey,” which struck me as sounding very thematically different from the rest of the Treasure series at the time—and it turned out to be the intro to “Sector 1” almost 2 and a half years later.
Yeah. That really was one fucking Long Journey.
As for translated re-releases of songs, these can be released anywhere from 0 minutes to two and a half years after the original release—the English version of “Take Me Home” was released alongside the Korean version, while the Japanese version of “Pirate King” was released 882 days after the original.
So the next time you hear something that sounds out of place in an ATEEZ song, maybe be prepared to wait either 3 months to hear the full thing, or 3 years. Though notably, it seems like they’ve since been teasing songs this way a little less, given the last time it happened was 3 years ago, when “HALAZIA” was previewed at the end of the “Guerrilla” music video.
edit: "In Your Fantasy" was teased in "Bridge : The Edge of Reality"; that's my bad for missing it LOL. So they're still teasing music this way, but it does feel like less so than in 2018-2023
IV. Thematic Continuities
If you’ve listened to enough ATEEZ, you’ve probably noticed that in addition to teasing upcoming songs within songs, they’ve had some musical themes*, melodies, and lyrics that are repeated throughout their discography.
*A musical theme is a core, recognizable melody that forms the basis of a composition and recurs throughout the work. I’m not sure if “musical theme” is technically the right term in this context but I’m gonna roll with it (I took music theory 10 years ago and have forgotten everything).
Here are all the “continuities” that I could find in their discography: including previews/continuations and callbacks (inclusion of a past melody, lyric, theme, etc.).
Some of these are fairly obvious: the first few lines of “Treasure” (2018) can be found repeated at the end of “Precious” (2020) and the Overture version. The riff of “Say My Name” (2019) shows up at the end of “Outro: Over the Horizon” (2021). And many outros or intros feature the instrumentals of title tracks in previous releases. Here’s one I found that is a bit more subtle:
Again, they’ve shifted away from self-referencing and creating this interconnectedness in their music, ever since the end of The World series. ATINYs on r/ATEEZ have been theorizing about the GH series’ place within the overall lore, suggesting that GH is an illusion, and that The World series has never really ended, given the absence of an epilogue album (here is a great compilation post of Golden Hour theories, put together by u/SpacePirateCats if you’d like to learn more). If GH really ends up being an illusion that ATEEZ is stuck in without realizing it, its musical isolation from the rest of the discography and lack of references to previous releases would make sense.
Lore completely aside, shifting away from this “musical interconnectedness” might have allowed ATEEZ to pursue other concepts and genres, or appeal to a broader demographic of fans. It might also mean faster turnover time for album production and more flexibility for the company. Though from what I’ve gathered, KQ staff and Eden are the ones behind the storyline and seem quite passionate about it—so I doubt they’ve axed anything just for the sake of saving a couple bucks. And these are just speculations, as I don't know too much about the music industry or how album production works.
V. Line Distribution Stats
Line distribution is a hot topic for many K-pop groups, and ATEEZ is no exception. As such, I’d like to just make clear: the purpose of this section is not to compare the members to each other or discuss what is “fair” or “unfair.” My goal is just to provide numbers so we can quantify just how much the line distribution has changed over time.
I went through over 100 line distribution videos and recorded the length of lines per member, per song (“You are a crazy person” - my boyfriend, last night, in response to all of this), to ultimately calculate the following:
Seonghwa starts the most songs out of all the members, with 23 songs in which he sings the first line. He’s closely followed by Yunho with 22 songs, then Hongjoong with 21 songs. Jongho rarely starts songs, with only 5 songs in which he sings the first line.
Across ATEEZ’s entire discography, Jongho holds 21.3% of lines, and Yeosang holds 8.0%. If line time were split exactly equally among the 8 members, each would be given 12.5% of the total lines. Note also that Yeosang’s share of lines has increased by 338% since debut (more than tripled), and Wooyoung’s has increased by 178% (almost doubled).* This was calculated using the total share of lines in 2025 versus in 2018.
*In my preview post, the percent increase/decrease numbers were incorrect!
The below timeline shows how each member’s line share has increased or decreased yearly. In 2025, Hongjoong, Yunho, Yeosang, San, and Mingi all saw increases in line share compared to 2024, while the rest saw decreases.
If we graph these percentages over time, we see much variance in 2018, but convergence of the lines in recent years, representing a more equal line distribution.
Below is another way to visualize the change in line distribution over time. Magenta cells show the lower end of the range in line percentage, and green shows the higher end. 2018 shows greater variance in colour, while 2025 shows a more uniform colour distribution.
I will end this by saying that no line distribution will ever be exactly equal, and that using numbers to quantify “fairness” in something as subjective as art will only get us so far—however ironic it is, that I’m presenting numbers to you in this post. I think it’s far more important that ATEEZ and their producers are playing to each members’ strengths, and taking full advantage of the diversity in style, colour and texture of their voices. The impact of any individual member doesn’t always need to be measured quantitatively, but instead qualitatively; which is to say that one can be impactful in a song or performance even if they have fewer lines, and contribute the same impact as someone who has more lines than them.
These days, the line disparity isn’t nearly as huge as it had been—and the presence of all 8 members feels so equal to me both in their recordings and live performances, that a small difference in any two members’ lines should be trivial.
Those are my two cents.
(The last time I involved myself in discourse about line distribution, albeit way less eloquently, on Amino, I got fucking decimated. Please be nice.)
Honourable Mention: Maddox
Maddox provides narration for 7 of ATEEZ’s tracks.
I wonder how much he gets paid for those.
That’s all.
VI. Closing Out
Now that I’ve gotten my monster of a spreadsheet up to date, I’m aiming to keep it updated as ATEEZ releases more music. And if I’m able to, I may look into some other aspects of their discography that we can keep track of. What key are most of their songs in? Major or minor? Tempo? Will they bring back that interconnectedness we got to see during Treasure, Fever and The World? If anyone has other ideas, feel free to comment.
Finally, here is my spreadsheet for your viewing pleasure, where you can see the full masterlist of songs and line distribution for each.
If you’ve made it all the way to the end, thanks for reading! And if you’ve been waiting for this since I posted the preview, I hope it was worth the wait!
Line Distribution YouTube Channels
Special thanks to: HEXA6ON, random_k, Butterfly Kiss, Park Jaeyone, benstronaut, KPOP Idol Cover, kawaiikpop, k_line distribution, Kpop Editions, SSKD • Kpop, random_j, SanniLove, SS_LINE, and Shuffle Waffel for your line distribution videos!
