Max Abysmal

Made in Australia but firmly settled in The Netherlands, Max Abysmal is a unique character and one of the rawest talents to emerge from Amsterdam’s vibrant music scene in recent years. The Sydney born DJ and producer has been a firm fixture on many people’s radar for a good while, slowly earning himself a reputation as a master of low tempos and high intensities fit for dance floors of any nature.

Somewhat of a pillar of the underground scene, Max Abysmal has certainly carved his own niche bringing an unrivalled degree of eclecticism. For some time now, Max has operated amongst many of Amsterdam’s musically like-minded and well known characters, fitting neatly within the Red Light Radio, Safe Trip and Dekmantel crews and clicks.

Earning his stripes with club shows across Europe and beyond as well as his hometown residencies at De School and favourite hangout Garage Noord, Max has gained national recognition at recent Dekmantel Festivals turning heads with a memorable performance on the Greenhouse stage in 2016, showing his versatile skills in the Boiler Room the following year and more recently twisting melons at the Selectors stage in 2018 where he played b2b with Versatile label boss Gilb’r. Across all these performances, Max proved his worth with his signature sound - something even he struggles to pin down in words, an energising and diverse blend of wavy ambient sounds laid across trippy drum patterns, dusty 80s Funk and early Techno, Jungle, Lo-Fi Electro: for Max Abysmal just about anything goes. 

It’s not only on the dance floor where Abysmal excels, his left-of-centre, off kilter magic is also channelled through the studio. His first release dropped recently via Young Marco’s ‘Safe Trip’ imprint to much acclaim, the melodic two-track EP titled ‘Sutekh’s Mirage / Donna, Don’t Stop’ has wet the appetite of many and with a full-length album in the works, it’s not hard to see why people are penning Max Abysmal as one of the most exciting artists to emerge from the fertile grounds of Amsterdam.

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