Miami’s cityscape can feel like a living organism. Take Brickell City Centre, a four-city-block condo-office-mall complex that literally breathes. It was designed to create a natural breeze in the Florida heat, so that the monstrous development would have to rely less on air conditioning. BCC is vaguely hideous on the outside, but inside its lines are clean, wavy, and oceanic, certainly gorgeous enough for a Sunglasses Hut. Brickell City Centre embodies the work of Arquitectonica, a local architecture firm that, since the 1970s, has remade Miami’s image with glass facades and curvy shapes. Their greatest buildings feel natural but also garishly artificial, and lend the city a hyperreal feeling—a sense of luxury and awe that defies the reality that the climate crisis could upend life in the city at any moment.

Producer Nick León comes from Broward County, just north of Miami proper. Like Arquitectonica’s buildings, León’s music is pure Miami—the album’s press materials refer to it as Arquitectronica—reflecting the city’s mugginess but also its lively sounds, as well as an ominous menace around its prettiest resorts and waterfronts. León worked on A Tropical Entropy for three years and named it after a phrase in Joan Didion’s 1987 book Miami, which positioned the region as a sort of upside-down America thanks to its tropical heat and restive, crime-ridden political landscape. León approaches his South Florida warily but lovingly. He borrows rhythmic strains from its streets in the service of insular electronic music that gives us a glance at León’s own Miami: fun, but freakily unnerving if you really start looking around. There are moments of optimism and freedom, but A Tropical Entropy is the rare dance album that explores the seedier side of this milieu, rather than just the escape it can offer.

That’s probably because he’s stuck deep in it. Since the pandemic, León has become one of dance music’s most beloved producers, riding a wave of hype around Latin-influenced subgenres with dancefloor hits like 2022’s “Xtasis.” His music pairs excellent sound design and mainstream-ready melodies with rhythmic know-how that touches on perreo, tribal guarachero, and raptor house, among others. But it’s the dreamy dembow song “Bikini,” with Erika de Casier, a released as a single last summer, that lays his intentions bare, following production credits with Rosalía, Empress Of, and Oklou: The dude wants to make pop music.

That desire bubbles to the surface on A Tropical Entropy, an album that sounds uncomfortable with León’s own dance music history, jumping from genre to genre as if he couldn’t bear to sit still for more than a minute. Each track is short and turbulent, adding up to a brief 33-minute runtime that feels almost unceremonious for a debut album from a buzzy artist. Rippling drum patterns appear suddenly like inclement weather before turning a song inside out and leaving just as quickly. Even the poppier moments are indecisive and ephemeral. But listen closely and it feels lived in, inhabited by his close friends and made with a level of detail (and neurosis) more aligned with the bedroom than the club. It’s a more personal spin of the styles he’s most closely associated with, turning the swing of dancehall and dembow into paranoid, palpitating heartbeats.

In a 2024 interview, León discussed being tired of touring and nightclubs and explained that he was “anti-drums” when he began working on A Tropical Entropy. Though they’re not the main attraction, the drums come in hot, landing suddenly with needlepoint precision and a low-end heft that crashes like waves against manmade seawalls. On “R.I.P. Current,” the track hits high-gear when the dembow rhythm goes double-time. Melodic elements blur like billboards flying by on a freeway, a moment of fleeting escape before we’re drawn back into León’s more insular headspace. Sometimes things go too fast, like on “Millennium Freak,” whose stuttering speed dembow drums and muttered vocals create the chaos of coming up too fast with no end in sight, the moment you realize that perhaps what you took wasn’t what you thought it was. The moods continue to swing with “Hexxxus,” a club-ready, dancehall-ish track that starts out irritable and twitchy, yet ends up somewhere close to sexy.

When he’s not DJing or producing pop singers, León calls himself a sound artist—which includes his work for an installation centered around a coral reef off the coast of Miami—and A Tropical Entropy includes some of his richest and most evocative sounds. “Metromover” is underwater techno, with synth notes and vocal snippets landing at random like light filtering through the surface of the ocean. The album’s catchiest song, “Crush,” is only 91 seconds long and made from a series of seemingly disconnected arpeggios that form a romantic whole gone before you know it, as if León is catching wisps of smoke and manipulating them until they fade away completely.

These impermanent sounds, the way they appear to pass through glass and water, mimic the urban landscape of Miami, right down to its famously decadent nightlife. The flickering emotional interference is the product of too many nights out, when you’ve rewired your brain a little too eagerly—and incorrectly. It’s the weird peaceful-agitated-buzzing-sad feeling you get after leaving Downtown Miami bar The Corner at 7 a.m. for a pointless post-club drink you definitely didn’t need (“Product of Attraction,” which feels like a UK garage love song and lament tied into one excruciating knot, could’ve been made after a bender like that).

Miami is a place of contradictions that can feel precarious just by existing: too hot, constantly under threat from hurricanes, in danger of falling into the ocean. Equally precarious and unsuited for our times is the life of the DJ—or anyone who has professional aspirations around the dance music industry. This is a scene that can kill you as much as it nourishes you, pulling you into the undertow while giving you fleeting glimpses of success, fun, and glory, putting people on a pedestal for the mere act of playing music to drink and do drugs to.

A Tropical Entropy is a self-deprecating title for a landmark moment in León’s career. Sure, there’s progress here, but there’s also doubling back, starting over, giving into anxiety, sometimes all in the same track. The unsteady rhythms and unsure song structures reveal the malaise in returning not only to Miami but to dance music itself, which makes A Tropical Entropy feel alive and imperfect, just like the city it was born in. Pride mingles with restlessness and unease, while the sepia wash of depression bleeds in at the corners. It all comes to a head as the jittery “Broward Boyy” transitions into “Bikini,” León’s 2024 hit that returns to close out the album. This oceanside torch song was always melancholy, but now there’s something else in it. Depending on your reading, “Meet me at the beach” could either be a romance reduced to routine or a Springsteenian call to escape. Maybe it’s both at once, the sound of someone locked in a cycle they can’t get out of.