Paloma Mami doesn’t just make a return, she stages a takeover. Códigos de Muñeka, the Chilean-American artist’s long-anticipated follow-up to Sueños de Dalí, is a sleek, 11-track body of work that fuses melodic pop with trap and reggaetón without ever veering into excess. It’s tightly wound, confident, and refreshingly devoid of filler. Paloma knows her value and her sound—and she delivers it with icy precision.
The album opens with “HAKiA,” a shimmering reggaetón banger that feels engineered for high-stakes entrances. “A doll like that, you just can’t buy,” she sings, fully inhabiting her self-crafted archetype: stylish, self-assured, and untouchable. The lyric doubles as a thesis for the entire record—Paloma Mami is building a persona on her own terms, and the music serves that vision.
Throughout Códigos de Muñeka, the cohesion is striking. There’s no chasing trends, no sudden left turns for algorithmic attention. Even when she slows things down with DannyLux on “SiNKRONiZAMOS,” the emotional gravity doesn’t dilute her vibe—it deepens it. Their chemistry is effortless, their vocals buttery, the production airtight.
Elsewhere, tracks like “LA FREAK” with Rauw Alejandro and “OJO DE HORUS” with Pablo Chill-E keep the album orbiting in Paloma’s world of flirtation, fantasy, and finely honed control. These aren’t throwaway features—they enhance the record’s texture without eclipsing its central voice.
What’s most striking about this project is how curated it feels. Every track seems meticulously placed, every beat sculpted to reinforce the dollhouse dreamscape Paloma Mami is constructing. But this isn’t about softness. Códigos de Muñeka is a power move cloaked in satin—graceful, but unyielding.
Three years after her debut, Paloma has emerged with a record that solidifies her status among Latin music’s most original voices. She’s not trying to impress anyone. She knows the codes, and she’s rewriting them in glitter and grayscale.
