Apocalipsis

Album ∙ Urbano latino ∙ 2025

Cris MJ

The smash hit “Gata Only” put Chilean artist Cris MJ (and his cohort FloyyMenor) on the proverbial map, its viral appeal translating to international success. It makes sense, given that his melodic monotone and pleasure-seeking lyrics jibe so well with the atmospheric reggaetón he seems to prefer. Working mainly, though not exclusively, with his prior go-to producers, like Nes on the Shet and Panda Black, he maintains a consistency both sonically and thematically across the full-length Apocalipsis.

Unsurprisingly, the songs here tend toward hedonism, not infrequently veering into sexually charged territory that starts on the dance floor and ends in the bedroom. Versatile yet consistent, he’s the consoling suitor for a heartbroken baddie on “Braile,” the adventurous lover with certain proclivities on “Temblar,” and the confident mile-high clubber on “Jet.” Money showers, shopping sprees, and late-night trysts define the world he’s building, track by seductive track. As such, it’s easy to get lost in these strobe-light serenades, his provocations and pleas proving hypnotically alluring on “Vamo a Bailotear” and “Una Flor.” Still, there’s a Weeknd-esque gloom lurking in those slinky shadows, revealed in spots like “7 Trompetas.”

Though dembow-derived rhythms drive the bulk of Apocalipsis’ contents, he affixes a similarly erotic yet moody vibe to the gothic synth-pop of “Fashion Week” and the booming trap of “El Tiempo Se Pierde.” Neo-disco thump pushes “RocknRoll” into a retrofuturist thrill zone, while “Tercer Cielo” warbles as much as it throbs. Yet no matter where the beat takes him, Cris MJ seems down for whatever the night might bring.