Bringing his distinctive touch to the series, Stylus Rex delivers a journey that reflects the spirit of Mesh - forward-thinking, immersive, and rhythmically rich.

In Stylus Rex’s own words “Showcasing tracks from exceptional emerging artists alongside titans of the underground, a mix built from sonic textures and non-linear soundscapes into innovative beats and bass-driven dancefloor productions. Traversing deeper dubby IDM, leftfield electronica, breakbeats and techno with energy shifts through 120–135 BPM to get you moving.”

Follow @https://soundcloud.com/stylusrex

Tracklist:
Batu - Built On Sand
Rob Clouth, Max Cooper - Candeleda
Aeikus, Pedro Capelossi - Opal
D. Diggler - Red Mercury
woulg - I Will Stop
Ejeca - Jalek
Jinje - Cretan Ebony
Jasper Tygner - First Light
Backpullver - Kanava (Alex Banks Remix)
Four Tet - Daydream Repeat
Yaleesa Hall - Second Cullen
Ruthlss - Feel Good
Yaleesa Hall - Wet Woofers
Pearson Sound - Blanked
Max Cooper - My Choices Are Not My Own (Throwing Snow Remix)
Dharma - Mirror
Villager - PAUSE
Ottagone - Ottagone 01
Ruthlss - Northern Lights

Mesh Mix Series 035: Stylus Rex

The night I met Inoxx & The Toxx, the city was drowning in its own reflections.

I was chasing what the department called the “Epic Journey case”: people who didn’t jump, didn’t run, didn’t die — they just stepped out of their lives after looping the same anonymous track on repeat. No body, no note. Just headphones on a pillow and a playlist full of ghosts.

Every scene looked the same. A laptop still warm. A browser paused on the same profile. One track spinning in the history, over and over: instrumental, trip-hop, strings, radio static and a heartbeat that wasn’t quite human. The last victim had renamed it “Nocturne: A Night of Wonders,” like they thought it was a private joke.

The trail pulled me uphill to a mansion that shouldn’t have had lights on at 2 a.m. Inside, the air tasted like old secrets. A grand piano waited by the fireplace. On the lid: three glasses, one half-empty, like someone had drunk their courage and left.

They were already there.

A punk with a green mohawk sat at the piano, leather jacket, Union Jack on the sleeve, fingers resting on the keys. By the window, a woman in a red dress watched the city. Her blue hair caught the glow from outside. Between them stood a tall figure in a velvet suit with an old computer monitor for a head, screen humming softly.

“Rough night, detective?” the monitor crackled. “Doesn’t look much like a Summer in Paris to me. Sit.”

I didn’t remember telling them I was a detective. I sat anyway.

The punk started to play. Slow, smoky chords. The kind of music that makes good decisions feel optional. It curled around my thoughts and dug up things I’d tried to bury. Regrets. Almosts. The people I hadn’t saved.

“That’s the one from the file,” I said. My voice sounded further away than it should have.

“In one version,” the woman murmured. “Out there they give it new names. Someone called it The Bright Side of the Moon once. Someone else named it after a person they should have let go. Some write Beware of the Quiet Girl in the title and pretend it’s not about themselves.”

She finally looked at me. Her eyes were too calm, like someone who’d seen every ending and stopped being surprised by any of them.

“The music doesn’t take them,” she said. “We don’t take them. They come here on their own. We just… give their feelings somewhere to live.”

In the corner, a tape machine turned, big reels spinning in a lazy circle. The labels were handwritten: track titles, dates, initials. I recognized some from the case files. One bartender had told me, “That song, it’s like it knows what you almost did.”

Then I saw it. My own initials. Same careful handwriting. Same date as tonight.

On the monitor, the image shifted. I watched myself open the front door, step into the room, drip on the carpet. Same coat. Same tired eyes. Same bad feeling dragging behind me like a second shadow. Behind that, another version of me. And another. Each one slightly different. A word changed here, a hesitation shaved off there. A dozen takes of the same scene.

“If you’re here,” the screen said, voice dropping into the mix, “it means you pressed play again.”

Time folded in my ears. I tried to stand, but the chords held me in place. I understood, suddenly, why no one left a note. You don’t write a goodbye letter to a song. You just hit play one more time and let it do the talking.

“That’s the real Epic Journey,” the punk said quietly, not looking at me. “Not running away. Finally letting the soundtrack match what’s inside your head.”

Moonlight slid across the room, erasing the corners. For a second, the salon didn’t feel like a place at all, more like the inside of a track: loops, echoes, reverb, tiny details you only hear on the tenth listen.

“That’s how it works here,” the woman in red said. “Nobody goes missing, detective.”

She leaned back into the shadows as the tape clicked and locked into place.

“They just stay in the song.”

Mesh - the platform for exploring the intersection between music, art, and
science. 

For label enquiries please contact rosy@thewildseeds.com

Founded by London-based artist and electronic producer Max Cooper, 
Mesh isn’t a typical record label, more an avenue to pursue ideas and 
collaborations with creative people who are pushing the boundaries of their
disciplines.

Booking: infobooking@mattiaprete.com

DJ, Band Member, Label Manager, Radio Host and Promoter.

Label Manager of @jazz-o-tech
Band Member at 505
Resident Radio host at Radio Raheem Italy and Ciut FM Toronto at TheMinxRadioshow

More here: www.mattiaprete.com

Mattia Prete is a Berlin-based DJ, producer, band member, and label manager whose ambitious electronic music is deeply influenced by club styles such as techno and electronica, merged with intricate jazz rhythms and organic instrumentation.

As a DJ, Prete has a versatile sound, and his sets tell a sonic story, taking the audience on a transcendental journey that keeps mind and body engaged on the dancefloor. His mixes incorporate intelligent, dreamy, fluid, and eclectic genres, including techno, jazz, IDM, tribal, and broken beat, all built on strong, propulsive grooves.

In the studio, Prete’s work is infused with sci-fi futurism and the immersive scope of film soundtracks, producing a unique sound that has gained international acclaim. He debuted with “Moon, Please Don’t Go Away” in 2020 on Jazzotech, the label he manages, and has since released the vinyl EP “Life is Waiting” on the experimental label Faith Disciplines, as well as singles like “Palettes” and “Zamovliannia,” featuring classical musicians from Dnipro’s Philharmonic.

Prete recently co-founded the 505 band project with Daniel Calvi, exploring electronic rhythms with a sensitive trip-hop sound and incorporating live electronics and organic instruments for a trippy, textured experience.

As label manager and A&R of Jazzotech, Prete has laid the foundation for a new club scene called Techno Jazz, producing original music and live events featuring jazz and electronic musicians.

One of his most notable projects is the double LP “This is Techno Jazz,” featuring collaborations between artists like Stanislav Tolkachev with Finnish band Himanen & Kinnunen, Katharina Ernst with Spanish techno innovator Reeko, Tensal with Turin jazz band TUN, Fabrizio Rat, and trombonist Gianluca Petrella. This project also inspired a party of the same name, held at Kantine Am Berghain and Sage Beach, with legends like Matthew Herbert, Fabrizio Rat, and Studnitzky.

Prete has played at renowned clubs and festivals, including Montreux Jazz Festival, Fusion Festival, Kantine Am Berghain, Jazz:Re:Found Festival, and Tresor Berlin.