Mikael Delta is one of the most influential electronic music artists of Greece. A founding member of the iconic group Stereo Nova, together with K. Vita he helped introduce electronic music and urban poetics to Greek audiences in the early '90s. Since 1995, he has also been the founder of the T19 collective. His solo career includes releases on labels such as R&S Records, Glasgow Underground, Distance, Klik, and Inner Ear finding significant recognition overseas. Delta has composed music for theater and cinema, including the award-winning film Strella. Alongside his career as a musician, he teaches music technology and is the author of six books on personal development and spiritual practice.

Could you share with us what mood or feeling guided you while putting this mix together?

What guided me in creating this particular mix wasn’t so much a feeling, but rather a state of Non-Thought, an inner Emptiness I enter during the creative process, much like when I compose music. I would describe it as the unfolding of my inner landscapes, where unconscious parts of my being meet the present moment and merge with it.

Are there particular environments or routines that help you enter a creative mindset?

I often feel the call of creativity simply by touching the keys of a newly acquired synthesizer, while exploring its technical depths. That tactile exploration fascinates me. Equally, I enter a creative state when traveling, especially to cities beyond my homeland, where architecture often becomes my main muse. For instance, the idea for my album «Life Is Now» was born while standing on a bridge over the Spree river in Berlin, and again during walks along a wild Atlantic shore.

Do you treat mixing as part of the creative process, or as a separate, final stage?

Mixing is an inseparable part of the creative act for me, one of the earliest and most delicate phases when shaping a track. By focusing on the drum pattern’s mix from the very beginning and refining it sonically, I create a solid foundation that helps define how every other element is selected, placed, and processed. A well-balanced rhythmic mix becomes a compass for the entire track. I never treat composition or programming as mere automatic writing, each detail carries intention

The first thing I share with my students at IEK Omiros, where I teach Music Technology, is this: “No one is better than you, and you are not better than anyone else.” This simple truth disarms the inner critic. Today’s young producers often fall into the trap of comparison, a toxic loop that drains creative energy and leads them away from their authentic path. Personally, ever since the early days of Stereo Nova, I never gave space to that mindset. I was fully immersed in what the power of music was revealing to me, there simply was no time for comparison. At the same time, I’ve always had deep respect for pioneering artists and labels in the electronic scene: Orbital, Luke Slater, Aphex Twin, Model 500, Chain Reaction, R&S Records, Warp, and many others.

After all these years of making music, what continues to motivate you? Where does the sense of purpose come from now?

What truly motivates me is the life that music gives me, it feels like it regenerates my cells. After all these years and experiences, I consciously serve the great mystery we call Music. If I were to stop composing, I believe I’d fall ill, I’d stop living. It’s a sacred gift that was given to me by the Divine Source, perhaps to keep me from self-destruction. There’s no particular goal, only the act of offering, through sound.

Are there any specific visual or literary works that consistently inspire you during your creative process? How do they shape the way you approach sound and composition?

There are no fixed visual or literary references that consistently guide my creative process. That absence gives me the freedom to express myself without falling into aesthetic repetition. What excites me is the unknown, every single time. Inspiration may come from anywhere, a phrase in a book, a breathtaking film, the textures of an urban landscape, or a fleeting moment in another piece of music. What matters is how it finds me in the moment.