Origin: United States

Los Angeles-based DJ/producer Anakim (ana-keem) best describes his music as “Intergalactic Underground Sounds.”

The dark and mysterious sonic tone that Anakim conjures is the perfect accompaniment for interstellar travel. This is what the Anakim concept is built from and is perpetuated through his upcoming Deep Space Mix Series. Hailing from Los Angeles, CA, and perfecting his sound at the esteemed @IconCollective Music Production School, Anakim wields a formidable sonic style that is both melodically rich and delightfully sinister.

When the time is right, Anakim will unleash his conceptual Deep Space live show on the masses; taking them on a fully immersive and interactive journey through sight and sound. Starting small with headlining club/warehouse dates and residences in Ibiza or Mykonos, and eventually growing to larger “galaxy themed” festival dates, this will be a show everyone will want to experience.

Built around the concept of connectivity and deeper consciousness, Anakim is poised to connect higher minded individuals through music.

Join him on this journey.

We are all Anakim.


Hometown: Encinitas, CA

Currently living:
West Hollywood, CA

Origin of name:
The Anakim are a race of giants from biblical text who are descendants from another race of giants called the Annunaki. The ancient Sumerian people wrote in their tablets dating 5,000+ years ago about the Annunaki visiting them from a planet in our solar system, yet to be found, called Nibiru (the elusive Planet X that NASA thinks is actually hidden in our solar system). I came up with this name because the style of music I make is a hard-hitting yet intergalactic style of progressive and techno I like to call “deep space.”

Weapon of choice:

Source of power:
The universe

Discovery Project Mix Entry:

What advice would you offer someone thinking about entering the Discovery Project competition?
Submit a track that best depicts you as an artist, and if you happen to have a lot of unreleased music, use as much of it as possible in your mix. It will help Insomniac see you for the artist you truly are.

Blurb Yourself:
The fateful day my life changed happened back in 2010. My friend Brandon called me up and asked me if I wanted to check out a rave with him. At first, I declined heavily, but with some persistence, he convinced me to go. That rave was EDC LA, the very last EDC held in Los Angeles. I remember being absolutely mind-blown that a world and culture so beautiful existed without me knowing about it. I was so moved by the experience that dance music shows—especially Insomniac shows—became my biggest avenue of self-expression. I went to every rave under the sun. I kid you not, I met one of my best friends randomly in the crowd of Beyond Wonderland 2011. I can’t explain how much the dance music scene has shaped me as a human being.

From 2010 to the end of 2014, I went to shows nonstop, but at the time, I was pursuing a career path that just didn’t feel right. Miraculously, I came across an interview in which this huge DJ at the time mentioned going to Icon Collective music production school. I had already been messing around with FL Studio for years as a hobby, but making music was nothing I’d ever considered seriously—until I got up the courage to check out the school. It turned out to be one of the best decisions I have ever made.

To anyone who is reading this, I am you. I was a mega fan who attended every event under the sun, and what I have to say is: If you are even remotely curious about making music and DJing, then go for it. Just take a chance, and see what happens. Who knows—maybe you’ll also go from being a person who attended Insomniac raves to someone who just won Discovery Project and is now playing them.

Was there one particular moment in the recording or mixing process for your Discovery Project entry that made you feel like you were creating something pretty damn special?
I had just finished watching this incredible short film from 2015, titled Uncanny Valley, where virtual reality junkies play a violent combat game. At a certain point, the lines between the game and reality starts to blur tremendously. I kept thinking about this short film and what it would sound like to me if the lines of virtual and physical reality started to blur. Within a couple of hours, I had the main idea down; within a couple of days, the whole track was done.

Are there any dots to connect between where/how you grew up and your musical output?
When I was seven years old, I went to the Philippines with my mom to visit her side of the family. We went to this mall in Manila called Landmark. I remember passing through the music section, and my mom asked me if I wanted any CDs. I picked out a Nirvana CD and randomly a Kris Kross CD, a teen rap duo from the early ‘90s. Being so young and listening to those albums made me want to learn how to play an instrument. A year later, I started piano lessons and played for about four years, but ultimately I got burned out. I ended up coming across a cracked version of FL Studio, and the beatmaker in me was born.

Tell us about your most memorable night out as an artist or as a fan.
My first rave ever was EDC LA 2010. I had never experienced a rave or had ever been exposed to dance music before it. Being at kineticFIELD, which was located inside the Los Angeles Memorial Coliseum, was a life-changing moment for me. The people I met, the full-on PLUR vibes everyone had, the music, the lights… I truly felt at home. I didn’t know it at the time, but I walked out a completely changed individual. My whole life had changed. It’s funny—deadmau5 headlined the very first night I was there, and now I find myself releasing on his label.

How, if at all, does listening to music factor into your creative process? What’s the last song you heard that made you drop what you were doing and go into the studio?
I strongly believe that listening to music of different genres can seriously help you define your own sound. I’m always more inspired when I listen to different genres, because it allows me to think outside the box of what’s possible in my own genre. The last track that made me drop what I was doing to hop into the studio was BAILE’s “Amae” (Sasha Fabric1999 Mix). [I] was floored when I heard that track come on. It has one of the best vocals and intros I’ve heard.

What sound or noise do you love?
The Mac startup sound.

What should everyone just shut the fuck up about?
Which genre is the best. Music speaks to people in different ways, so never knock someone for liking a genre you don’t.

What gets you excited when you think about the future of electronic music and club culture?
3D sound systems and 3D visual effects being the absolute norm.

How would you describe your sound to a deaf person?
The accompanying soundtrack to interstellar travel.

What do you remember about your first DJ gig?
This is actually a pretty funny story to me. Still not sure how I did it, but my very first DJ gig ever was at Sound Nightclub in support of Jeremy Olander. I showed up with my friend Aaron, who was managing me at the time, for sound check about 30 minutes prior to my gig. I loaded up a track on the CDJs and let it rip. I remember the system being so loud, I got shook for a second because the ground was shaking so hard. I quickly stopped the music, turned to my friend, and said in front of everyone, “Is it always that loud?” Everyone just busted up laughing.

What’s the hardest professional lesson you’ve learned thus far? How did it make your life easier—or more difficult?
When dealing with labels, the release date of your track can be pushed back numerous months without you having control over it. One time, I had a track that was accidentally left off a Miami Music Week compilation a label specifically signed it for. They didn’t release the track for a full year after the mishap. It made my life difficult at the time, because I was brand new on the scene and was totally relying on that track to make an impact for me during such an important time of the year. It taught me to never place my eggs in one basket and to always keep creating.


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