Swiss producer Mirlaqi has spent the last few years carving out his own constellation inside the electronic universe…somewhere between spatial house, jazzy downtempo, psychedelic daydreams, and dance-floor gravity. With ‘Late Present,’ his first full-length LP on Wise Bird, he steps into a wider narrative: a double album where organic instrumentation, ambient poetry, and club-ready pulse coexist in a single electro-acoustic world.
Drawing on early inspirations like Pink Floyd, Gorillaz, and Radiohead, while filtering them through his evolution as a DJ, live performer, and sonic explorer, Mirlaqi uses ‘Late Present’ to reflect on love, loss, time, and the subtle strangeness of being alive. Surrounded by a trusted circle of collaborators, trumpets glowing, percussion breathing, and voices intertwining, he delivers his most intimate and adventurous work to date.
We caught up with Mirlaqi to dive into the making of the album, the philosophies behind it, the next chapter in his ever-expanding musical orbit, and more!
WWD: ‘Late Present’ feels like your most expansive project yet. At what moment did you realize it was no longer an EP or a collection of tracks, but a fully formed double LP?
It happened during the production of “Inter Lux”. Something in the steady percussion and deep bassline made me realize this tune was a key moment in a wider project. It unlocked the rest of the process.
WWD: You originally worked under the codename ‘Papadou’ LP. What emotional shift or conceptual breakthrough pushed you toward the final title ‘Late Present?’
The first name was supposed to mark the end of my first production era, as a reminder of my old “Mirlaqi Papadou” artist name. It soon started to sound more like a burden of the past, rather than an actual reflection of my artistic state. I knew I had to change but didn’t want to rush things. In 2024, I was reading a lot of Philosophy of the Mind and the idea that we, spirits, exist through time strongly resonated with my musical practice. Combined with the five years it took me to achieve the album, “Late Present” appeared as the obvious choice.
WWD: The album blends electronic dance songs with organic instrumentation and ambient spaces. How did you balance these acoustic elements with your club-oriented instincts?
Honestly I’m not sure haha This project was an attempt at finding a sweet spot between dance tunes and home-listening songs, and build a coherent narrative to link them all. I hope it makes sense to those discovering the result !
WWD: Your voice plays a much larger role on this record, spoken word, French/English vocals, processed singing. What unlocked that confidence for you?
‘Late Present’ is probably the most personal project I’ve ever worked on so it felt like only my own voice could carry it. I wasn’t ready to do it at all when the instrumentals were done. I had to find out what my voice was suited for, and train to better myself. The spoken words really came as a surprise during a jam with my friend and producer Seb Hall in 2024. The singing was harder to get properly, and I used some stronger processing there, but I’ve always accepted that honest music is about exposing oneself. I don’t know if it’s brave or naive, but that’s how I keep pushing myself and get better. I hope haha
WWD: There’s a recurring sense of impermanence and reflection in the LP. Did writing about love, loss, and “the inexorable coming of our end” change your relationship to your own music?
I feel liberated. I had pressured myself to make such a project for years. Now that it’s done, I almost approach my next projects as bonuses. I guess I had something to prove to myself.
WWD: You brought in a remarkable cast of collaborators, Favi, Nips, Gus, Tim Spoerli, and Alice Moeschinger. What surprised you most in the way they reshaped the tracks?
What’s amazing is how working with someone else can actually improve the expression of your own artistic vision. Of course I share suggestions or intentions with them before recording, but there’s always space for the collaborators’ personalities. Favi has this incredible sense of melody that brought tunes like “Riddimer” and “Passager de la Terre” to another level. Gus brought life and texture to the drums like programming can’t. I’m proud of my singing, but having Alice with me added joy, strength and expression. On “Prendre le Soleil”, Tim did something much more spectral than I had in mind but the way is solo floats is actually perfect for the tune. Nips really knows how to fit in with style and the subtle additions to “Caucasian Tree” are among the best moments of the album for me. I’m so thankful to all of them !
WWD: Tracks like ‘Prendre le Soleil’ and ‘Caucasian Tree’ feel almost cinematic. Did you visualize scenes or landscapes while crafting the album’s narrative arc?
‘Caucasian Tree’ definitely comes from the vision of roots getting more and more entangled as they dig deeper. Writing the lyrics I also had in mind a scene where people gather around a fire in windy plains, realizing how similar they are as they tell more about themselves. For ‘Prendre le Soleil,’ someone’s enjoying life on the beach for sure haha!
WWD: Your influences range from Pink Floyd and Radiohead to Gorillaz and house music. Where do you feel those worlds collide most clearly on ‘Late Present’?
The whole album I hope haha Maybe my love for the Floyds and pieces like Echoes gave me the confidence to release longer evolutive tracks. I’m far from the 23 minute masterpiece, but “Passager de la Terre” has rather uncommon variations for a disco-house song. Gorillaz’s influence is maybe more noticeable on my sound design. “Velvet Love” and “Prendre le Soleil” have bright and joyful synths that one could trace back to Damon Albarn’s mythical project. As for Radiohead… let’s say the lyrics !
WWD: You’ve described the project as an “electro-acoustic journey.” If the album were a physical place, what would it look or feel like?
A place where it’s ok to feel vulnerable and desperate because your hopes and happiness are also welcome. That’s probably too vague, so let’s say a forest environment on a warm spring night, surrounded with friends.
WWD: The album’s artwork again involves fainek. What conversations or visual concepts guided the transition from sound to image this time?
Thank you for mentioning her work. Once again she amazed me with her ability to create an artwork fitting perfectly with what I had in mind, although I never could have imagined something quite similar on my own. I talked about the impermanence of life, of frames within frames, of the album as a gift. She also always finds this sweet spot between sci-fi settings and down to Earth nature. A true friend and committed artist !
WWD: You came from keys, saxophone, and live bands before diving into dance music. Do you feel this LP reconnects you with your earlier musical self?
A hundred percent ! Earlier this year I released “Unpopular Songs” that’s closer to my dream teenage album. “Late Present” is more of a bridge through time, joining all my inspirations and aspirations.
There’s a lot of patience in this record… slower tempos, ambient introspection, unexpected structures. Was slowing down a creative necessity or a personal one?
Probably both. I have, or had, a tendency to overcharge my productions. I love ‘deepness’ in the tunes I listen to, but it doesn’t come naturally in the ones I produce. The hour-long scale of “Late Present” forced me or allowed me to think about rest in the music. I’ve learned so much in the process.
WWD: You’ve played across Switzerland and France with both DJ and live sets. How do you imagine translating ‘Late Present’ to the stage? More live? More hybrid? Something new?
The project was thought of as a studio creation, but I’ve been asked about a live performance several times so I’m thinking about going hybrid ! Singing and keys for me, Favi for the sax and flute…
WWD: You said you wanted to “offer something worthwhile to society as an artist.” What does that responsibility look like for you today?
The question is at the core of my creative process now more than ever. First because of the political and ecological state of the world. Secondly because of the threat caused by AI production. My response to this is to focus on uplifting and quirky music. I want to recycle fears and pain into hope and joy through music.
WWD: If ‘Late Present’ marks the end of one era, what door does it open next? Any hints about where Mirlaqi is heading musically after this?
There’s the soundtrack of a fictitious videogame I’ve been meaning to write for some time. A few b2b productions are in the pipes too. But maybe the most exciting for me is this new band where I play the keys. It feels good to solely focus on my instrument and push my skills forward. We hope to start playing in April!
WWD: 2026 is looking busy! Thanks for the chat 🙂
Thanks!
The ‘Late Present’ LP is available here.