My set for Intergalactic Fm Festival 2021. 
Filmed by Bill Anagnos at Astron Bar in Athens. 

Music by Anna Funk Damage, Suicide, Manie Sans Delire, Violet Poison, Boris Barksdale,  Egyptian Lover, Homva, DAF, Baktiriele Infektion, Helena Hauff, June, Hieroglyphic Being, Beverly Hills 808303, Musumeci, Final Cut,  Profit Prison,  Current 93, and more. 



Video Streaming: https://www.youtube.com/watch?v=R6AAH7-Lcpw

IntergalactiFm Radio:  https://www.intergalactic.fm
IG: https://www.instagram.com/morah___/

Morah - Intergalactic Fm Festival 2021

Buy/stream: https://kompakt.fm/releases/agartha_lp_dl

‘Where is Agartha? What is the specific region in which it lies? Along what road, through what civilizations, must one walk in order to reach it?.’ Saint-Yves d’Alveydre in 1886

Agartha, the debut full-length album by Japanese producer Wata Igarashi, is a mysterious, divine thing. Named for the mythical secret kingdom, understood as a complex maze of underground tunnels, perhaps designed by Martians who colonised the Earth tens of thousands of years ago, it’s a similarly mystical, perhaps even cosmic trip – but this time, exploring an inner, deeply personal cosmos. Beautifully detailed and bustling with rich incident, it takes Igarashi’s music to new places, which still retaining his unique sonic imprimatur; in this respect, it’s perfectly at home with Kompakt, a label that’s always encouraged artists to make the visionary music they need to create, to take risks and make sideways steps into uncharted territory.

An eloquent producer and DJ, Igarashi has been releasing techno for eleven years now, appearing on such imprints as The Bunker NY, Delsin, Midgar, and Time To Express; he has also self-released his productions via his WIP net label. Throughout, Igarashi has consistently explored his unique approach to techno and electronic music, one that’s eloquent and poised, even when it shifts into more psychedelic terrain; he’s a master at balancing the sensual and the functional, and he has an unerring ear for the right texture, the right tone, at the right time. He brings all of this into Agartha, his most thorough-going expression of self to date.

For Agartha, Igarashi had a strong concept he wanted to explore. Visualising specific scenes from an imaginary film based on the titular secret kingdom, he created soundtracks for those scenes, spending time during the pandemic in his studio, working away carefully at the ten tracks here. Given his background in creating music for television and advertisements, Igarashi is well-placed to explore the marriage of the sonic and the visual in such intimate ways, but freed from commercial concerns, he let his imagination run riot. He also drew on a rich palette of musical influences – techno is in there, of course, but you can also hear the smoky, improvised jazz of the likes of Miles Davis (to whom the album’s title is an indirect nod), and the minimalism and systems music of Steve Reich.

The latter is particularly pronounced on the gorgeous, beatless drift of “Floating Against Time”, where an arpeggiated sequence lingers, lovingly, around your ears for nine blissful minutes, coasting across swooning drones and waves of ambient noise. “Ceremony Of The Dead”, originally composed as part of a Sony 360 Reality Audio spatial sound concert, is a deep pass into systems composition, with various patterns overlaid and interlocking, before a wordless vocal rises from the depths, a gorgeous counterpoint to the swarming textures that gather across the track. On the other hand, tracks like “Burning” and “Subterranean Life” nudge toward Fourth World territory, painting deluxe dreamscapes of uncertain provenance; the title cut is an abstract drift-world, Igarashi painting an alien tableau dotted by shape-shifting creatures.

Agartha’s conceptual framework means that everything on the album sits perfectly together; listening to it in one sitting is a dizzying, lush experience. Its imaginings of inner landscapes recall, in some respects, the nautical, aqueous mythologies of the Drexciyan universe, though from different perspectives. But the result is Igarashi’s own creation, a deluxe, enchanting trip through the visionary Agartha of this unique producer’s cinematic mind’s-eye.

Agartha

Wata Igarashi - Floating Against Time

from ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ There Is A Place For Me

Releases July 7th
nthng.bandcamp.com/album/there-is-a-place-for-me

Written & Produced by nthng
Designed by Maciej Przężak (MJWP3.com)
Mastered & Cut at Scape by Isabel and Stefan
Pressed at RAND Muzik
Published on Transatlantic

There Is A Place For Me

https://confusedmachines.bandcamp.com/album/no-more-bloodshed-cm23

Narvalos • STOP [CM23]

music by nthng
mastered by Isabel @ OLO Mastering
lacquer cut by isabel @ Scape
pressed at RAND MUZIK
distributed by Inchbyinch

Don't Be Scared

This is the seventh episode of the Pi Electronics show on Stegi Radio, featuring a recorded dj mix by Ukrainian artist, Jana Woodstock. Just like every episode of the show, the recording includes an intro and presentation of the guest mix in spoken words by Alex π.  
Guest link http://instagram.com/janawoodstock
With @pielectronics and @ja-na-woodstock

Jana Woodstock is a Ukrainian DJ based in Germany. Rooted in Kyiv’s underground scene, her sound blends industrial, breakbeats, DnB, and noisy experimental textures. Always searching for new sonic directions, she brings raw energy to every set.


Pi Electronics feat. Jana Woodstock w/ Alex π (25.05.2025)

Deviate >>> https://kiyadama.bandcamp.com/album/deviate

Dark Pit

@djjsaliva

Kicking off a stacked CENTER BOOTH Season 2 is the Porto-raised, Berlin-based Mauro Ventura, better known to techno fans as DJ Saliva. Founder of the long-running Porto queer-centered party series Arena Spa Superiora, Ventura is also a resident DJ and label manager at Herrensauna and an accomplished visual artist whose work spans painting, sculpture, installation and performance. He has played at world-leading venues and festivals including BASEMENT, Tresor, Nuits Sonores, Body Movements, Bassiani and RSO Berlin, sometimes B2Bing with crew mates such as CEM and Salome with electrifying results. We’re thrilled to have him grace CENTER BOOTH with this enigmatic, eclectic set brimming with energy and texture. 

Across 65 compelling minutes, DJ Saliva dips in and out of genres and styles including gothy, plangent techno, subterranean acid, wiggly tech-house, psychedelic IDM, and Carribean rhythms. The mixing is mostly fast, loose, and unsuspecting, whether he’s dropping dancehall into springy, electrifying techno, chasing Karenn’s gnarly “Crush The Mushrooms” with glowy braindance, or breaking up Latin percussion with ravey psytrance. There are moments of tension throughout, an admirable amount of risk-taking, and an experimental quality to the set that makes it feel as though DJ Saliva is taking the trip alongside you, guided by his fervent curiousity, and always landing somewhere slick (the electro-grunge Garbage closer is chef’s kiss). 

Lock in for a lively, daring journey from an artist unafraid to paint outside the lines.

https://youtu.be/iQqpiBy1Wjk?si=cmONTOu-R0D35mWH
https://www.lettonne.dance/

LETTONNE

DJ Saliva – Center Booth ◎ S2E01

og: https://soundcloud.com/zeitfall/losing

@zeitfall
@zeitfall
@zeitfall

zeitfall - losing (flip)

AICHER Harness Pleads [ft. R. Rebeiro]
From the upcoming album Defensive Acoustics

AICHER Defensive Acoustics
releases October 10, 2025 on Downwards Records

Preorder https://aicher.bandcamp.com/album/defensive-acoustics

Music — Liam Andrews 
Studio — Boris Wilsdorf, andereBaustelle, Berlin
Mixing — Seth Manchester, Machines With Magnets, Pawtucket
Mastering — Rashad Becker, Clunk, Berlin

AICHER Harness Pleads [ft. R. Rebeiro]

collab album w/ coach
https://soundcloud.com/prodxcoach