“That was my very first catchphrase,” Chuyin tells Apple Music about the title of his debut album, Los Locos Nunca Mueren. Of course, those who heard the pseudonymous bad boy on Fuerza Regida’s “INMORTAL” back in 2023 will recall him delivering that line as a way of introducing himself, albeit represented visually as a living figurine. “I’m immortal because I’m the doll that never dies.” After the mystery-shrouded música mexicana star signed with Street Mob Records and label boss JOP brought him out on tour, fans caught a glimpse of him as a real-world version of this impish figure, with an oversized, face-obscuring helmet that brought the hedonistic character to life. “I became Chuyin by releasing single by single, living the things that I’ve lived,” he says of his public ascent. Those exploits get covered with storytelling flair across the album, with the consequences of his actions shared in a way rarely covered by others in his genre. “Chuyin went to rehab because they caught him slipping, not because he turned himself in.” Yet despite all the alter-ego secrecy and bad-reputation-building, he reveals quite a lot to his fans on this first album, intentionally so. “I feel like it was really important to say some real things,” he says, “because people see a helmet or they see my face and they’re like, ‘That’s not a real artist.’ I took three years to really harness it all, because I want them to get to know Chuyin,” he says. “They get to see a lot, all the little different personalities—the sad, the angry, the introspective.” Read more about Los Locos Nunca Mueren below—in Chuyin’s own words. “REHABILITADO” “In the very first lines, I tell you how life has been lately, He’s not rehabilitated at all, he hasn’t fixed anything, up to the same bad habits. So that’s the twist, where you think it’s going to be a healthy song. No, that song tells you the two weeks in rehab didn’t help at all. So I felt like it had to be the first track to set the tone for the album.” “PANIKI” “Everyone talks about how they live the fast life. On ‘PANIKÍ’, I do what every other artist does—nightlife, turning up, being a dog. But on the second half, he gets caught up. And when he gets caught up, he gets beat up. So it’s a topic that no other artist has tackled, the consequences of that life that everyone praises. You could tell he’s not rehabilitated. He’s still in that mindset. It still takes you on this whole trip where you think it’s going to be okay, and it takes the very last line where, boom, everything sets in. Things happen to me, not just the good things.” “OLVÍDATE DE MI” “That’s one of my favourites right there, because I wrote it 100%. It’s the only one with no collaborators, so I’m really proud of it. It’s one where I finally admit to myself that I’m the problem. It’s almost like me angry at myself in a way, because I know I’m not good enough. But instead of admitting that to her, I’m just telling her, ‘Forget about me.’ If you really pay attention to the song, it’s me angry that we’re not in good terms. But why are we not in good terms? Because I’m choosing to live this life.” “EL PROBLEMA ERES TÚ” (feat. Oscar Maydon) “I wrote it on a plane with no guitar. I was super upset about something. I had to go on airplane mode, and I just wrote it right there out of my sadness. I turned it into a romance ballad. I showed it to JOP and he was like, ‘I love this song. Let me show it to Oscar Maydon.’ Literally within a week he had sent the vocals. It was very surreal to get the vocals and then just hear it mixed and mastered. He really did his thing.” “PUES YA NI PEDO” (feat. Fuerza Regida) “I’ve been around JOP before he was the global superstar. So I’ve got to witness a lot of his stages. And he teaches us a lot, all his artists, but mainly me, because I’m around all the time. Ultimately I strive to have a long career just like him. Working in the studio with him is pretty seamless. We understand each other on a way where I hear a song and I immediately know if he’s going to like it or not. We keep it really tight-knit. We always say Chuyin is technically him in another universe. That’s the multiverse right there.” “SANA SANA” “I wrote that one with one of my biggest collaborators, Naach. This guy has more credits on my album than anyone else. The whole production was, I dare say, magic. There’s a few songs that are kind of a blur how they came together. It’s literally just a sad love song, but it was written fast. It just came together all together seamlessly.” “SIN FIN” “With the title, I wanted it to be the last song because ‘Sin Fin’—doesn’t have an end. But then I thought about it, and I didn’t want to have all my singles be the same, and then have the album change. I wanted to give people a hint, for the greater good of the project, showing the people that it wasn’t going to be one thing. Chuyin is a passion project. It was important for me to show people that I can switch it up too.”