Los Retros-Odisea.
Label: Stones Throw Records.
Format: Double Vinyl.
Mauri Tapia, operating under the moniker Los Retros, has officially broken past his bedroom-pop cocoon. Released in April 2026 on Stones Throw Records, ‘Odisea’ marked the 25-year-old Oxnard multi-instrumentalist's highly anticipated debut full-length album. It represents a massive, intentional pivot away from his original dusty, lo-fi "sad boy indie" sound.
For anyone expecting a carbon copy of his 2019 gold-certified hit ‘Someone To Spend Time With,’ Odisea will come as a huge surprise. Tapia has completely traded in his humble four-track living room sonics for a pristine, hyper-polished home studio setup.
The primary heartbeat of this record is 1980s Japanese City Pop fused seamlessly with seventies and eighties jazz fusion, smooth Latin American soft rock, synth pop and more than a hint of yacht rock.
Odisea is a meticulously crafted 12-track journey that completely alters the trajectory of Tapia’s career. Moving systematically through the album reveals a gorgeous, jazz-fused sonic landscape heavily inspired by 1980s Japanese City Pop.
Side One.
The title track pulls double duty as an intro and a mission statement. Kicking off with pristine synth washes and a driving, slap-bass groove, it immediately signals that the dusty, four-track living room production is gone. It establishes the high-fidelity, neon-lit nighttime aesthetic that defines the whole record.
‘The World’ leans heavily into late-seventies jazz fusion. Tapia showcases his growth as a multi-instrumentalist here, layering shimmering Rhodes electric piano keys over a deceptively complex, uptempo rhythm. His vocals are smooth, floating effortlessly above a tight, professional rhythm section that he engineered entirely by himself.
‘Shape of Things to Come’ is a breezy, mid-tempo track that feels like a nod to classic Latin American soft rock groups of the eighties. The melodic hooks are incredibly sweet, but the underlying drum work and sophisticated chord changes give it a maturity that keeps it from feeling like simple radio pop.
‘Cielos’ is the first track to strongly highlight Tapia’s spiritual and personal growth. The track is sung primarily in Spanish, and features gorgeous, cascading electronic synths. It’s a track that feels bright, optimistic, and is intensely focused on a sense of peace, reflecting Tapia’s current headspace as a family man grounded in faith.
Side Two.
‘Doves’ features Hikari, and is one of the longest and most ambitious tracks on the record. It’s also a standout track. That’s because of the addition of Japanese vocalist Hikari who elevates the song into a true cross-continental piece of art. Her airy, elegant vocals blend seamlessly with Tapia’s lush arrangements, sounding like a forgotten Tokyo late-night FM radio classic.
‘Sobre Las Ruinas’ translates into ‘Upon the Ruins,’ and introduces a bit of beautiful melancholy back into Tapia’s sound. However, he handles it with a much more refined touch than his earlier work. The bassline anchors a hypnotic, slow-burning groove that feels incredibly cinematic.
‘Outskirts’ shifts the energy back up with a punchy, driving synth-pop rhythm. It captures the exact feeling of cruising down a coastal California highway at dusk. The synth hooks are sharp, infectious, and stand out as some of the most memorable earworms on the first half of the record.
Side Three.
‘Just Us’ is a deeply intimate, romantic cut that serves as a direct window into Tapia’s personal life. The track utilises warm, vintage soul textures mixed with a smooth jazz backdrop. It feels incredibly tender, operating as a soulful love letter wrapped in incredibly tight, sophisticated production.
‘Joven Pobre y Sabio’ is a stunning and stylistic pivot translating to ‘Young, Poor, and Wise.’ This track marries a foundational Bossa Nova rhythm with smooth City Pop melodies. Tapia’s vocal delivery here is incredibly relaxed and confident, proving he can navigate intricate global rhythms without breaking a sweat.
Side Four.
‘Monte Calvario’ is an atmospheric, deeply contemplative piece. Musically, it is layered with dense, rich synth pads and subtle guitar work that feels almost ambient at points. It’s a gorgeous, spiritual breather on the back half of the album that shows Tapia isn't afraid to let his arrangements breathe.
Quite simply, ‘Secret Admirer’ is the undisputed crown jewel of the album. This track perfectly encapsulates the entire thesis of ‘Odisea.’ It features a fiercely funky, irresistible bassline, bright keys, and a massive, infectious chorus. It bridges the gap between old-school funk, modern indie, and vintage City Pop effortlessly.
Closing ‘Odisea’ is ‘爆ぜるもの,’ which features Japanese City Pop royalty Hitomitoi. It’s the grand finale of a genre-melting album of cross-cultural authenticity. This track closes the album on a spectacular high note. It is a full-circle moment where the Oxnard bedroom-pop pioneer is officially validated by the very scene that inspired his new creative chapter.
‘Odisea’ which translates to Odyssey, accurately reflects Tapia's personal journey over the last few years. He’s now married, a father of two daughters, and grounded in a renewed sense of faith and purpose, his music sounds like that of an artist who is finally at peace with his direction. The result is a grownup musical masterpiece.
While some early fans might miss the gritty, nostalgic lo-fi textures of Tapia's teen years, ‘Odisea’ is objectively Los Retros’ most articulate and refined musical endeavour to date. It is a brilliant, smooth-sailing homage to the forefathers of jazz fusion that proves Tapia is a generational songwriting talent, not just a viral bedroom-pop fluke.
Los Retros-Odisea.
