"It was 9.30am, and Ankali was supposed to have been closed for over two hours already—but it wasn’t. The club was still completely full, so atch22 & Alpha Tracks stepped into the booth, and a spontaneous, trancey 4-hour journey began. I was so happy to see Felix quickly embrace our "endless playground" motto. Hands down, it was the longest Ankali night ever!"

@atch222
@alpha-tracks-official

Words by Cyril
Artwork by Miroslav Zhivkov
Extract from #nyyyye_extended

Ankali #046 – Alpha Tracks & atch22 [extract]

"Edits' set stopped time and reminded us that no matter what happens, everything is as it should be. Everything will be okay. The chaos and rush in Ankali and Planeta Za. The million friendships. The ups when you find your friends on a dancefloor. The downs when you lose them somewhere. A real life unfolding. Edits reassured us that everything will be fine."

@editaaaa

Words by Madeleine Apolen
Artwork by Miroslav Zhivkov
Extract from #nyyyye_extended

Ankali #044 – Edits [extract]

"Domizako and Miss Carriage's NYE b2b left me utterly speechless, and for those who know me—that’s almost impossible to do. These two shared the most epic chemistry behind the decks, with each of them having the chance to highlight their impressive mixing skills and music selection. From start to finish, they found a way to bring everyone back to life to such a point that no one could bear to leave the dance floor. From ass-shaking bangers to sexy, bassy goodness, this set served it all."

@miss_carriage
@domizako

Words by Liliana Drekaj
Artwork by Miroslav Zhivkov
Extract from #nyyyye_extended

Ankali #043 – domizako & Miss Carriage [extract]

Two and a half years after the last compilation, Joachim Spieth presents the fourth ‘Textures’ sound library.
You will find a mixture of wide pads, drones and experiments that will serve as a starting point for your own sound creations. The samples are available in 48 kHz / 24 bit resolution.
Textures 4 is the result of Spieth's experience gained over the last few years with several album productions, collaborations and live performances.


All the sounds included were produced exclusively for this sound library.


produced and mastered with

Ableton - Live 12 Suite
Ableton - Sampler
Native Instruments - Kontakt 6
UVI - Shade
OEK - Sounds Soothe 2
OEK - Sounds Spiff
OEK - Sounds Bloom
Hypnus - Slink Filter
Brainworx - Vertigo VSM-3
Sonosaurus - PaulXStretch

Textures [Sound Library 4]

a fragment, untethered.
drifting through circuits of memory, stripped, reassembled,
a dream that wasn’t meant to be found.

it twists, it folds—becoming something unfamiliar.
no past, no pattern. only motion.
the extraction is complete. the next phase breathes.

EXTRACT0000

Ampliphaze x Fatcore - Herring Jam 23 .03 - Live Improv Extract

Groovy and dark live-set extract made on groove-boxes, synths and samplers. 142bpm. Dance off your drama. #LiveXtrakt 23/03/25

Mariguanize Legajuana

"Pablo’s set was the best thing I’ve heard in a while. Didn’t know him before, had no idea what to expect. What we got was a proper tour de force of different genres, tempos, structures and, yes, storytelling (it’s a thing). Slick ghetto house, crazy footwork, UKG, certified bangers (*could have been one, could have been two, could have been three*) - you name it, he served it.

But what really set the set apart (you see what I did there) were the fresh ideas how to put all that shit together – like when he casually mixed an endless loop of that pre-drop swarm-of-bees part  from Joy O’s “flight fm” into his own track. I even had to go and check the players if it was some edit, but nope, mixed right there on the spot. That's how he achieved that mysterious “you get them where you want” state. He created the vibe and eased the crowd into it, which then got super receptive to his experiments as evidenced by all the oohs and aaahs and hurrahs (I might have provided some). That last part also made me realize that Pablo must be the sweetest guy ever – you could see how genuinely thankful and happy he was for all the positive feedback. Top shit, all around."

@pablo-garduno-takenaga

Words by Michal Adam
Artwork by Martin Groch
Extract from Ankali ½ Weekender

Ankali #048 – Takenaga [extract]

extract

Preview of my 2025 tekno liveset, 147 BPM

Back to the Rave (Extract preview) 147 BPM

who not a vamp

KRG-4.5

LiveXtrakt 125 bpm breakbeat bass // Analog to digital.

BASILISK

“There is a certain smell in a room when the set is good. Your body notices it immediately. It’s a delicate mix of many variables. The sound needs to have all the layers and depth, then it acts like glue. People need to be present so that whenever you lock eyes with someone, you feel grounded. The bodies have got to be responding to music in a way natural for them, and then the bodily fluids start seeping into the air. But all of this can only happen when the music is delivered honestly. With love, intention, opinion opinion, and with a real dedication to sharing and connecting. I felt that when Madeleine and Daniel were playing on Ankali’s 8th Anniversary. The room smelled like the perfect set – and with that, you can’t go wrong. It fuels you to give even more.”

@kobayashi_maruuu
@madeleineapolen

Words by Atomal
Artwork by Pavel Holomek
Extract from Ankali 8th Anniversary

Ankali #050 – Kobayashi Maru & Madeleine [extract]

Disco Inferno - My Tribute to The Trammps [instrumental cover] - extract

This profile is my journey in electronic music, be it producing or djing. From the worst to the best.

Ankali. Gently crafted club space for open minded heads. Born in Prague. Former soap factory. Raised with love. Happy and sad.

J'étudie la pratique de l'orgue Jazz à l'âge de 14 ans à Paris avec Armand Motta (pianiste de Barbara , Brassens) et j'ai mon premier synthé en 1976. Des études musicales en section T1 Musique au Lycée de Sèvres, avec dans la classe : Louis Winsberg du groupe Sixun et  Ludovic de Preissac. Je fais à l'époque partie de différents groupes pop/rock/funk et fais des rencontres musicales enrichissantes à l'aube des années 80 au Studio Vitamines à Gentilly et au Studio Witas à Chaville. En 1988, je découvre la MAO et je m'enferme alors avec synthés et ordis pendant pas mal de temps pour explorer tout ça et commencer à composer sérieusement. Passionné par le Jazz, l'énergie du Funk, j'aime la fusion des styles (electro/acid jazz/drum & bass/musiques du Monde). Quelque temps en 2006 au sein de Atif and Soul People et de Notsos sur Versailles. Mes claviers préferés sont l'orgue Hammond, le Fender Rhodes, le Wurlitzer et bien sur les synthés analogiques au gros son bien funky. Les rencontres qui m'on marqué : Rhoda Scott en 1974 au Club St Germain, Bertrand Richard (p.) qui m'a montré mes premiers accords de Blues, Philippe Khalifa (gt.), Stephan Gibu (dr. & bs.) des groupes de funk/gospel "Ray Sidney Firm Soundation" et "Soul Activation", Loïc Bordas (sax & bs.), Bernard Le Bellego, Emmanuel Barrache (gt. harmo.) des groupes "Quai Ouest" et "Chicago Line Blues Gang" , Patrice Barreau (dr.), les musiciens de 'Atif and Soul People' et de 'Notsos'...

Différents métiers : webmaster, infographiste, vendeur de pianos/orgues (Hammond, Gem, Viscount, Oberheim, Promotion d'artiste... 

Influences :

George Duke, Bill Evans, Chick Corea, Wendy & Lisa, Prince, Sheila E., Joe Sample, Rodney Franklyn, Bob James, Ricky Peterson, Michel Petrucciani, Bill O'Connell, Horace Silver, Jean-Yves Thibaudet, Pierre-Alain Goualch, Ludovic De Preissac, Soulive, Isaac Hayes, Roy Ayers, Donny Hathaway, Till Brönner, Candy Dulfer, Maceo Parker, Don Braden, Sophie Alour, Meshell Ndegeocello, Marcus Miller, Rhonda Smith, Herbie Hancock, George Benson, Larry Carlton, Earl Klugh, Michael Sembello, Al Jarreau, Gino Vannelli, Steely Dan, Toto, Level 42, Weather Report, Barbara Denerlein, Lonnie Liston Smith, Joey DeFrancesco, Jimmy Smith, Take 6, Kurt Elling, Viktoria Tolstoy, Dee Dee Bridgewater, Robin McKelle, Eliane Elias, Bebel Gilberto, Gabriela Anders, Tania Maria, Ray Barretto, Natali René, Ani DiFranco, Randy Crawford, Rachelle Ferrell, Maxwell, Jill Scott, Angie Stone, The Brand New Heavies, Sarah McLachlan, Coldplay, The Beauty Room, Michel Colombier, The Cinematic Orchestra, [re:jazz], Ananda Project, Gaelle Adison, Everything But The Girl, Massive Attack, Morcheeba, Laurent De Wilde... 
Une admiration sans borne pour : George Duke, Prince et H.E.R.

Actuellement j'écoute :
https://soundcloud.com/you/likes

Sound Alchemist - Producer - Technomancer

Musical Alchemy // Original Sound Design // LIVE Electronic // Experimental Waves // Natural Frequencies
 < 01010010 01010000 01000111 >

Joachim Spieth’s musical career spans more than two decades, during which he has played many roles: DJ, producer, live performer, and founder of the esteemed Affin record label. His work is defined by an exceptional attention to detail and a keen sensitivity to creating immersive atmospheres, qualities that are evident whether in his studio productions or live performances.

In the early stages of his career, Spieth made notable strides through collaborations with Wolfgang Voigt’s Kompakt label. His contributions to the renowned Pop Ambient series, as well as a track featured on The Orb’s Back To Mine compilation, helped solidify his reputation within the ambient music scene.

A defining moment in Spieth’s career came in 2007 with the founding of his own label, Affin. Under his leadership, Affin has evolved into a respected international platform that brings together like-minded artists and fosters creative collaboration. Working closely with ambient artist Markus Guentner, Spieth has established a dynamic partnership that extends beyond music, with Guentner also contributing his artistic vision to the label’s visual identity.

Spieth’s discography showcases remarkable versatility, earning him recognition from both critics and fans. In addition to albums like Irradiance, Terrain, Overlay, and Retrace, his work has been reinterpreted by esteemed artists such as alva noto, Pole, Abul Mogard, Rafael Anton Irisarri, Dino Sabatini, Luigi Tozzi, and Claudio PRC. Through his Textures series, Spieth has also created a sound library that further emphasizes his commitment to sonic exploration and experimentation.

As a DJ, Joachim Spieth has performed in over 30 countries, sharing his musical vision with audiences worldwide. In recent years, he has developed a live ambient program, which has been showcased at prestigious festivals such as Up To Date (Białystok), Mostra (Barcelona), and the Ambientalny Festival (Wrocław).

Italian musician and producer born in 1989, Operating System (OS) developed his passion for music in the very first years of his life, thanks to his dad who is a professional musician.
He started to play guitar and then bass guitar at the age of 6 years old, showing an interest in blues and rock music. He discovered hip hop music at the age of 10 years old and suddenly he fell in love with it. He produced his very first beat (for fun) using a PC at the age of 12 years old and started to approach electronic music since then.
After his first free party, he started to learn how to produce tekno music using a laptop and synthesizers and he showed a very nice taste in music. 
He played in different free parties, building connections with different producers and crews.
His style has different influences from blues to acid techno.
He loves to play in clubs but, as he always says, he can do his best in illegal free parties.

https://osmusic23.bandcamp.com/releases

New tracks tagged #EXTRACT