The basic notion of an intra-universe wurmloch is that it is a compact region of spacetime whose boundary is topologically trivial but whose interior is not simply connected. Formalizing this idea leads to definitions such as the following, taken from Matt Visser's Lorentzian Wormholes.

If a Minkowski spacetime contains a compact region Ω, and if the topology of Ω is of the form Ω ~ R x Σ, where Σ is a three-manifold of the nontrivial topology, whose boundary has topology of the form ∂Σ ~ S2, and if, furthermore, the hypersurfaces Σ are all spacelike, then the region Ω contains a quasipermanent intra-universe wormhole.

Characterizing inter-universe wormholes is more difficult. For example, one can imagine a 'baby' universe connected to its 'parent' by a narrow 'umbilicus'. One might like to regard the umbilicus as the throat of a wormhole, but the spacetime is simply connected. For this reason wormholes have been defined geometrically, as opposed to topologically, as regions of spacetime that constrain the incremental deformation of closed surfaces. For example, in Enrico Rodrigo’s The Physics of Stargates a wormhole is defined informally as a region of spacetime containing a "world tube" (the time evolution of a closed surface) that cannot be continuously deformed (shrunk) to a world line [(the time evolution of a point)].

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Underworld are Rick Smith and Karl Hyde. Their peerless first album - dubnobasswithmyheadman - was released to universal acclaim in 1994. In the thirty years since that mould breaking debut, the band have established their reputation as one of the most groundbreaking and important electronic acts of all time, one that constantly pushes creative boundaries, twists genres and refuses to stay still. In those thirty years, their music has soundtracked approximately 100,000,000 nights out, and the mornings after. In the past year alone, Underworld have played live in front of over half a million people all across the globe.

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Now an established force in contemporary Techno, Mike Bierbach, better known under his stage name Rødhåd is someone who has seriously put in the work. Having cut his teeth DJing as a relatively unnoted (but well loved by those in the know) local in Berlin for 10 years, one could argue that by the time success knocked on his door, he was more than ready for playing the international stage. It was during these 10 years of obscurity when he refined his craft to become the singular DJ he is now. 

Launching his party-series-turned-label Dystopian in 2009 was what truly tipped the ball over for Rødhåd. In a time where the Berlin scene was heavily oversaturated by fluffy, miscellaneous dance music, he & his peers set out to form a platform for real techno. The reception to this was raucous. 

Although he has lauded productions and remixes to his name, DJing is his true forte. Before abandoning his day job as a draftsman in construction “The Red” (as some call him due to his gingered, bearded appearance) was known for playing very long sets in Berlin’s most notorious hideaways. 

With an album, several EPs & remixes for a multitude of different artists under his belt, Rødhåd the producer has received equal praise as Rødhåd the DJ. Dystopian has hosted most of his releases, but in 2018 he founded a new label WSNWG that serves as a home for collaborative productions, excavated in sessions at his East-Berlin studio with his peers such as Lucy, Alex.Do, & Antigone.

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