Native East Londoner Max Sinàl has been playing and releasing music under various aliases since starting out on East London’s famous pirate radio circuit 25 years ago.

In that time, he has played around the world regularly at venues such as Fabric, Space Ibiza and Potato Head Bali as well as festivals like Glastonbury, We Out Here, Bestival, Secret Garden Party and many more.

In recent years, he’s released on labels such as Knee Deep In Sound, Of Unsound Mind, Elements and Black Butter under various alias’s including 2fox, M.A.X and Sinàl (Kincaid & Sinàl)

2023 saw him launch the Max Sinàl moniker, alongside Soul Quest Records – a label he co-founded. In just a few months he earned the title of one of DJ Mag’s Best Emerging Artists and gained support from the likes of Gilles Peterson, Laurent Garnier, Kai Alce, Aroop Roy and many more.

Max has just released his new single ‘Waiting’ ft. Bianca Nieddu so we decided to catch up with one of London’s best deep house producers to find out more…

WWD: Can you tell us about your background and how you first got started in music? How did you first become interested in electronic music and what drew you to it as a medium for self-expression?

I was born and raised in Hackney in the east end of London in a community that was bursting at the seams with underground music. When I was in school in the mid 90’s, the jungle scene was well underway but I got infatuated with the emerging garage scene that was rapidly gaining traction and pirate radio which was the driving force of connecting it with the masses. I then became heavily involved in the pirate radio circuit from 2000/2001 until 2005. It’s hard to explain the significance and the belonging that I got from doing my radio shows. I learned so much!

WWD: Who are some of your biggest musical influences, both within electronic music and outside of it? How have these influences shaped your sound and approach to creating music?

There’s so many artists I draw influences from. I would say top of the list are people like Louie Vega (and MAW) and Moodymann. On a DJ tip I’m a huge fan of Luke Una, I feel like we tell a similar story in our sets. He’s had my jaw on the floor a few times while watching him with his selection. He’s a proper selector. In recent years I’ve spent a lot of time listening and studying Sault and Khruangbin. Theres something about their stripped back productions and the space created in their mix downs that I’m kind of addicted to.

WWD: Can you walk us through your creative process for writing and recording a new song? How do you typically begin a new track, and what are some of the key elements or techniques you focus on as you develop it

I wouldn’t say I have clockwork routine with my creative process but typically I would start with a beat and bassline to create the groove then work some musical elements around that. As time has gone on I have learnt to try and spend as little time as possible in that initial 8 bar loop phase. In my earlier years of production, I’d find myself getting lost in the loop a lot of the time and losing steam with the project so would just leave it as a loop before starting something new and never going back to it. I like to start building the arrangement as soon as I have all my basic elements and building the rest as I go. I’ve found it has improved my efficiency over all with how long it takes me to finish a track.

WWD: Your latest project is really gaining traction, can you tell us about it? How did this project come about and what inspired you to create it? What was your approach to making it and what do you think sets it apart from your previous work?

I wanted to make something that picked up where SQR002 left off. The keys are actually out takes from Let Your Hair Down that Hutch did during that session last year and I built the rest of the tune around that really. My long time friend (and manager) Ellis lined up the session with Bianca and the writing process just happened naturally with her. The whole song itself came about really organically.

WWD: What has been the highlight of your career so far? Can you talk about a specific moment or accomplishment that stands out as particularly meaningful to you?

It was actually just a month ago with my other project 2fox. We got given a headline slot on the Suncebat stage at Southport Weekender for our new live show and it was just a really magical experience. It moved me so much I came off stage and burst in to tears. Really looking forward to what the future holds with 2fox!

WWD: Can you tell us about any upcoming projects or collaborations you have in the works? Are there any new directions or sounds you’re exploring in your music right now?

I’m in a really good space creatively at the moment and am experimenting with different sounds and styles. Currently exploring a lot of broken beat soulful stuff which I’m really enjoying playing around with. Also got a couple of techno tunes on the go as well as a load of deep house. On the collaborative side, got some tunes on the go with Aroop Roy and Finn Rees (from Close Encounters & 30/70). Also been working with Kingcrowney on some stuff and am in with Ella Knight tomorrow to get some vocals down from her.

WWD: As a musician, what message do you hope to convey through your music? What themes or ideas do you find yourself returning to again and again in your work?

A lot of my music is not necessarily intended for the dancefloor. ‘Waiting’ for example can work in warm up sets but I guess it’s more of just a listening tune that I want people to connect with in a different way. If people can relate to the lyrics in a personal way and it evokes feelings inside them then I’m good with that.

WWD: Can you tell us about any challenges you have faced in your career and how you overcame them? Have there been any specific obstacles or difficulties you’ve had to navigate as an electronic musician?

I guess most recently it was the decision to kill off my previous alias M.A.X after 10 years. The last few years especially were really busy gig wise but the bookings I was getting weren’t aligning with me where I was at musically. It was a tough one for me, playing big events handing over to some of the biggest artists in the world yet not being able to play the music I wanted to play was kind of bitter sweet. I’m at a point where I don’t want to compromise on my sound and I knew I was going to have to take a hit on my booking schedule temporarily while starting from scratch with a new alias but it was a sacrifice I had to make and I don’t regret it.

WWD: How do you see the music industry evolving in the next 5 years? What changes do you think we’ll see in terms of technology, distribution, and audience engagement?

I really REALLY hope that there is a positive change in how artists/producers earn from streaming. It’s really tough on us at the minute. My other project 2fox is quite a high streaming act and it blows my mind every time we get a statement in, how little money there is in streaming. I’m very interested in seeing how James Blake’s new platform goes. I think it’s a great idea in theory. I just worry that the average streamer has got so used to having the world’s music at their fingertips for minimal cost, that paying seperate subscriptions for different artists is going to be too much of a tall order – especially in the current economic climate. That said, I’m rooting for it and really want to see it take off!!

WWD: What advice would you give to aspiring musicians trying to make it in the industry? Are there any particular tips or strategies you’ve found to be particularly effective in building a career as an electronic musician?

Focus your energy on collaboration not competition. Welcome constructive criticism and receive it with an open mind and not your ego. You don’t have to agree with it all but take it on board and use everything as a learning curve. Also, trust your sound. Be careful how much you compromise on it because maybe the world’s just not ready for it yet…

Max’s latest on Soul Quest Recordings available here