Wikipedia: “Lyrically, it talks about going after a woman and makes references to the social media platform TikTok.”
[Video]
[4.78]
TA Inskeep: Purely pleasant Chilean reggaeton, shuffling along nicely. I bet it sounds great in a club on a huge soundsystem.
[6]
Nortey Dowuona: BIG CVYU has a huge discography, which started around January 2021 with a little-remembered gem by Marcianeke, whom he works with to this day. He’s had a productive three years since, but this will be the biggest hit he has ever produced. Four warm chords looped ad infinitum over reggaeton drums so stock they could’ve come out of a reggaeton loop pack, attached with a keening synth riff. It’s an effective place for Floyy and Cris to riff, often at the bottom of their ranges. The more engaging points are when they drop the droning and attempt to belt, electrifying the song whenever they briefly appear. But they dwindle and fade out, repeating their tags but using the same vocal delivery, so this is lost on a new listener. (Unless you are a Cris MJ fan, in which case I guess good for you?)
[5]
Harlan Talib Ockey: In February, Cris MJ threatened to remove “Gata Only” from streaming services and release a version with only FloyyMenor’s vocals. Fans complained that MJ was monopolizing the song and sounded AI-generated. This is unfair. I’ve never known an AI-generated vocal performance that seemed this bored. Narratively, this feels like MJ is showing comical levels of disinterest in the woman he’s supposed to be singing about. On the lyric “allá abajo mojarte toda las partes” (TMI, BTW), he starts swallowing his words, like he’s embarrassed by this whole thing and wants to go home. The production is… very reverb-y, but I do like the descending synth line, which feels like it’s out of the snap/ringtone rap era. When that’s not happening, I too lose interest.
[3]
Oliver Maier: No chemistry between these two, in the same way that there’s no chemistry between two glasses of water. The beat is nice.
[3]
Ian Mathers: Wait, is this cloud rap? It’s got this diffuse, floating-away quality to parts of it that really works, even as the slightly stiff beat keeps it anchored.
[7]
Jacob Sujin Kuppermann: The high-pitched synths recall the bed-squeaking noises of Jersey club and its derivatives. Everything else is standard pan-Latin American reggaeton, lacking the charming excesses of the best of the genre. These guys just don’t really seem to care about this girl, even if she is, in fact, the only one for them – neither devotion nor horniness are implied as they drawl out their lines. It’s very low energy, which perhaps explains why it’s a hit; but second-screen dancehall derivatives are strictly unnecessary work.
[4]
Katherine St. Asaph: Reggaeton? More like reggaetonin. Or reggambien; Ambien doesn’t affect me much anymore (will someone ever invent a sleep med that just works, forever), but affected me enough at time of writing to make this song sound soporific. I am not convinced it’d sound any different under normal conditions.
[5]
Dave Moore: The decision to record the song underwater was bold but ultimately pays off, the deluge of reverb giving the whole thing a dreamy quality that distracts you from how ordinary it would otherwise sound. (For a while.)
[6]
Isabel Cole: The loose vibes are acceptable, I guess, but it’s not a groove I particularly want to stay in.
[4]