Just over a year since their debut, Ciipher are back! Returning with six new tracks, the seven-member boy group are cracking the code not just to what appears to be the beginnings of their origin story, but also to the winning formula for a Ciipher release. Like with their previous two releases, members TAG, WON, and Keita played a part in writing lyrics and composing tracks.

The album opens with “THE CODE,” a short intro track featuring morse code that translates to “THE CODE IS FAME!” (yes, I did figure it out myself; yes, the exclamation point is included; and, yes, that was the hardest part to translate). This is followed by the title track “Fame,” a fun and exciting song that will have you hooked in seconds. There is something about “Fame” that reminds me of SF9, but I can’t quite place why. “Fame” is a perfect combination of EDM elements with a pure pop foundation, catching your attention in the first few seconds of the track. This may only be the group’s third mini-album, but they have cracked the code on how to create a lasting impression with their title tracks. 

The music video for “Fame” is a far cry from the plots for preceding title tracks “Blind” and “I like you.” While their debut saw the boys lightheartedly dancing around a Costco-esque shopping center and “Blind” saw them as office workers, “Fame” sees them in a virtual world, rushing through mazes and searching for clues to break the code. As a fan since debut, it is great to see just how much their music videos have changed since their release last November and since debut. I’m interested in seeing if this story continues into comebacks down the line and if it evolves into a fully fleshed-out story.

“Slam The Door” is the first B-side on the album. A pop-rock track featuring guitar during the chorus, this is a different sound from Ciipher, but one they executed very well. I’d honestly love to hear even more releases from them like this because the build from the chorus that transitions “Slam The Door” from an EDM-infused pop track to a pop-rock track is lowkey addicting.

Track four is “On A Highway,” a chill pop song with acoustic guitar in the background. “You” comes next, which has a funky intro and big jazz feel throughout the track. The jazz presence is felt even more strongly at the end of the track, where the use of scat singing (made popular by artists like Louis Armstrong and Ella Fitzgerald) is surprising yet perfect, and there needs to be more scat singing in K-Pop. “Stay” is the last track on THE CODE and closes the album by ebbing between high catchy points and softer moments, making listeners pay attention to the very end.

THE CODE is a near-perfect spring-to-summer transition listen. The songs are catchy and consistent, but within that consistent sound are different styles, different genres, and different ways of keeping your attention. I’ve been covering Ciipher since they debuted last March and I’m impressed by the continuous growth and exploration they’ve done as a group. There’s been no stalling or backtracking, just consistent movement forward and embracing a specific sound and style. Hopefully these underdogs will get the attention they deserve with THE CODE.

Edited by Aleena Faisal