Maddix - Biography and discography, all albums and songs

Maddix is the stage name of Dutch DJ and music producer Pablo Rindt, born on December 3, 1990. He began his international career as a representative of big room and festival EDM, became one of the regular artists on Revealed Recordings, and later significantly transformed his sound by combining techno, trance, acid, rave, and the energy associated with major festival stages. Maddix’s best-known works include Ecstasy, Heute Nacht, My Gasoline, The Formula, ACID, Revolution, Open Sesame (Abracadabra), as well as collaborations with Hardwell, Armin van Buuren, Timmy Trumpet, KSHMR, UMEK, Vini Vici, and other artists.

One of the defining features of his career is that his most recognizable style emerged far from the beginning of his professional path. For more than half of the 2010s, Maddix released music during the peak of big room house, but instead of gradually disappearing along with the genre’s decline in prominence, he managed to rebuild his own production language. The shift began with harder experiments and became fully apparent with Ecstasy in 2020. By the middle of the following decade, his music was primarily described as a mixture of techno, rave, trance, and hard dance, while DJ Mag identified Heute Nacht and My Gasoline as two of the artist’s signature tracks.

A musical family, drums, and FL Studio

Pablo Rindt grew up in the Netherlands in a family where music was part of everyday life. His mother is a percussionist and teaches the African djembe drum. As a child, the future Maddix played djembe, piano, and drums himself. This early musical background already gave him a strong focus on rhythm — an element that would remain important both during his big room period and in his much harder later techno music.

Rindt became seriously interested in electronic dance music during his school years. A friend introduced him to FL Studio, after which Pablo began teaching himself how to create electronic music. He would retain this production environment throughout his professional career: in an interview with the developers of FL Studio, the producer explained that he uses the software at every stage — from composition and arrangement to final mixing and mastering.

It took years of practice before music became a full-time profession. In a 2019 interview, Maddix said that by then he had already been producing for around fourteen years. He recalled spending hours trying to recreate individual elements of professional records — for example, achieving comparable power in the drums — not to copy the tracks literally, but to understand the technical construction of high-quality electronic production.

How the Maddix project began

His professional discography began in the first half of the 2010s. Catalogs contain early Maddix releases dating back to 2013, while Rindt himself described 2014 as the moment when he decided to begin a new chapter specifically under this stage name. His original strategy was typical of young EDM producers of that era: free downloads, unofficial reworks of well-known tracks, and attempts to gain support from bigger DJs.

One of his first notable official releases was Rampant on Oxygen, a division of Spinnin' Records. It was followed by Raise Em Up on Armada Trice. That track played an important role in his relationship with Hardwell’s team: Dyro played it on his WOLV Radio show, after which Revealed management contacted Maddix. The producer later directly identified Raise Em Up as the track that began his long-term relationship with the label.

At the time, Maddix worked primarily within electro house and big room. His music was built around powerful festival drums, short build-ups, synthesizer leads, and large drops — the aesthetic that defined a significant part of the European EDM scene in the mid-2010s. Even then, however, he tried not to confine himself completely to a standardized formula: in interviews, the producer emphasized that he did not want to make “ordinary big room” and that his interest in electronic music extended far beyond a single genre.

Riptide and becoming established on Revealed Recordings

In 2015, Maddix released Riptide on Revealed Recordings. The track appeared on the compilation Hardwell presents Revealed Vol. 6 and helped firmly establish the producer’s name within the label’s circle. Over the following years, the relationship continued through Ghosts, Voltage, Invictus, Game On, Shake It, The Underground, Mantra, and numerous other releases.

The connection with Revealed was important for more than just releasing music. Hardwell regularly used Maddix tracks in his own sets, while label events gave the young producer opportunities to perform outside the Netherlands. Maddix later said that this team was instrumental in opening the international touring market to him.

The first official collaboration between Maddix and Hardwell was Smash This Beat, released in 2017 as part of Hardwell & Friends EP Vol. 1. Pablo himself initiated the collaboration: he sent Hardwell the original idea and suggested finishing it together. For Maddix, the track became an important symbol of the transition from a young artist whose music was supported by a famous DJ to direct studio collaboration with the head of Revealed.

Bella Ciao, The Prophecy, and the peak of the big room period

By the late 2010s, Maddix’s catalog increasingly revolved around major collaborations. In 2018, he reunited with Hardwell for their own festival interpretation of Bella Ciao. That same year, he released The Prophecy with Australian DJ Timmy Trumpet and Mangalam with Will Sparks. These records reflected Maddix’s position at the time: he was already firmly established within the international mainstage scene, but big room remained his primary weapon.

At the same time, collaborations appeared with KAAZE, Futuristic Polar Bears, Joey Dale, Olly James, KEVU, and other artists associated with Revealed and neighboring EDM labels. Formally, this phase of his career was successful, but the festival scene itself was gradually changing: the sound that had dominated in 2013–2015 no longer held the same central position. For Maddix, this coincided with a desire to move toward harder and less predictable music.

Ecstasy: the moment Maddix changed direction

On March 27, 2020, Revealed Recordings released the single Ecstasy. Maddix presented it as the beginning of a new era, while EXTATIC, the label he later founded, directly identified the track as the first big room techno release of his new period. It combined familiar festival scale with a straight techno kick, acid synthesizers, and harder rhythmic structures.

The shift did not mean that Maddix simply abandoned one genre and became a traditional techno producer. Instead, he began transferring the structural logic of big room into different sonic material. The large build-ups, obvious climaxes, and festival scale of his earlier style remained, while techno contributed faster tempos, a heavy four-on-the-floor kick, acid lines, and rave intensity. This combination would later become associated with the term big room techno.

Following Ecstasy, Technology, Existence, Electric, Tekno, Your Mind, The Rave, and Reality were released throughout 2020. Instead of a single experimental track, the result was an entire series of records confirming that the stylistic change was deliberate. Some of this material appeared on Tribe EP Vol. 1.

The pandemic as a period of reinvention

Paradoxically, this new version of Maddix emerged precisely when the global club industry came to a halt because of the pandemic. Instead of immediately testing his new material at large festivals, the producer gained time to develop the new language consistently. In 2021, he released Superheroes, In My Body, Home, Receive Life, Acid Soul, PYDNA, Different State, and State Of Mind.

These tracks made the return of trance and acid elements especially noticeable, and both would later coexist with techno on almost equal terms. For this reason, describing the later Maddix solely as a techno artist is inaccurate. His music is built on a constant exchange between several traditions within electronic music: rave and acid provide timbres, trance brings melodic euphoria, techno supplies the driving foundation and speed, while big room contributes the scale of the arrangement. EXTATIC’s official concept describes the same approach as a fusion of techno, trance, and EDM.

Heute Nacht — the track that changed the scale of his career

The true breakthrough for Maddix’s new sound came in 2022. After The Formula, Culture, Ce Soir (Voulez-Vous), and No Escape, he released Heute Nacht. The track appeared on Revealed on October 14, 2022 and was officially categorized by the label as techno. It used a German vocal hook, a fast rhythm, and a synthesizer line positioned somewhere between techno, trance, and rave.

Heute Nacht became significantly bigger than the previous tracks from his new period. The record spread through TikTok and Instagram Reels and reached far beyond Revealed’s existing audience. DJ Mag Germany noted its presence in Beatport’s techno charts and on social media, while the international edition of DJ Mag later identified Heute Nacht as one of the two tracks most strongly associated with Maddix.

The success was especially important because it confirmed that the direction he had chosen was viable. If Ecstasy in 2020 had been a statement of intent, Heute Nacht demonstrated that Maddix’s hybrid music could simultaneously work for a festival EDM audience, within techno playlists, and on the contemporary rave scene.

Hardwell returns — and the collaboration gets a second life

After Hardwell returned to active touring, his own music had also become significantly harder and moved closer to big room techno. As a result, his long-standing collaboration with Maddix found a natural continuation. In 2023, together with 4 Strings, they released Take Me Away Again, based on the trance classic Take Me Away, while with Timmy Trumpet they recorded Revolution.

That same year, Hardwell and Maddix released ACID featuring vocals by Luciana. Rather than returning to the sound of Smash This Beat, the duo used a characteristic acid line and a hard festival rhythm, adapting their collaboration to the new musical phase both producers had entered.

Another notable release was an official rework of Satisfaction by David Guetta and Benny Benassi. Hardwell and Maddix brought one of the defining electro house tracks of the early 2000s into an accelerated modern festival format. This approach — returning to an older rave, trance, or EDM idea and reinterpreting it through heavier rhythms — would repeatedly appear in Maddix’s catalog afterward.

My Gasoline

On August 18, 2023, Maddix released My Gasoline featuring vocals by Fēlēs. The track came out on Maddix’s own EXTATIC label and quickly became, alongside Heute Nacht, one of the central records of his new period. The original version runs at 140 BPM and is categorized by Beatport as Peak Time / Driving Techno.

In March 2024, Maddix and French producer Basswell released the significantly faster My Gasoline (Hard Edit). Its tempo increased to 152 BPM, while Beatport placed the track in Hard Dance / Hardcore / Neo Rave. The same musical material therefore became a useful illustration of Maddix’s broader evolution: the boundaries between big room techno, hard techno, trance, and hard dance were becoming increasingly irrelevant to him.

EXTATIC Records

In 2023, Maddix founded his own label EXTATIC Records, also stylized as XTTC. The project was created in partnership with the Revealed infrastructure and conceived as a platform for music that does not have to fit traditional genre templates. The label’s official concept directly connects its creation with the hybrid of techno, trance, and EDM that had developed in Maddix’s own work.

EXTATIC allowed him to move from being primarily a Revealed artist to becoming an independent curator. The label began releasing not only Maddix’s solo material, but also collaborations and music by other producers working within the contemporary rave scene. At the same time, the connection with Revealed remained intact: the companies continue to work together, and EXTATIC functions more as an expansion of Maddix’s musical space than a break from his former label.

From Open Sesame to My Fantasy: the music becomes faster and broader

In 2024, Maddix continued working simultaneously with techno, trance, and harder styles. Open Sesame (Abracadabra) featuring vocals by Swedish singer Leila K used recognizable material from her 1990s European hit and was classified by Revealed as acid/techno. Later, D-Block & S-te-Fan created their own hardstyle version of the track.

Together with Hardwell and Blasterjaxx, Maddix released 16, while with Vini Vici he recorded Spiritum. A collaboration with HI-LO, Oliver Heldens’ techno project, resulted in My Fantasy. These collaborations clearly show Maddix’s position between several scenes: his partners can be big room producers, psytrance artists, and musicians working in peak-time techno.

Another characteristic example is Meet Her At The Love Parade with Dimitri Vegas & Like Mike and Kiki Solvej. The title itself references Meet Her at the Loveparade by Da Hool — one of the defining European club tracks of the 1990s. Such references to early rave and trance culture became not a temporary form of nostalgia for Maddix, but a recurring source of musical material.

Festivals and Maddix’s changing status as a DJ

The growth of his streaming audience was accompanied by a move onto the world’s largest stages. Maddix performed at Ultra Music Festival, Tomorrowland, EDC Las Vegas, Parookaville, Mysteryland, and other major festivals. In 2024, his Global Awakening Tour covered Europe, North America, Asia, Australia, and New Zealand.

Maddix’s position within the industry also changed. In the DJ Mag Top 100 DJs poll, he debuted at number 95 in 2023, climbed to number 69 in 2024, and reached number 53 in 2025. The ranking itself is not a measure of artistic quality, but the progression clearly reflects the rapid expansion of his international audience after Heute Nacht and My Gasoline.

Hellfire and Rave Till My Grave

In 2025, Maddix continued developing EXTATIC while strengthening his connection with harder European dance music. One of the major collaborations was Hellfire with Italian DJ and producer Gabry Ponte. Released on EXTATIC, the track combined a hard four-on-the-floor rhythm with large choral elements and festival-scale dramaturgy.

Another collaboration with Hardwell, Rave Till My Grave featuring vocals by Villain, received particular attention. The release appeared on Revealed on August 1, 2025. Unlike the earlier Hardwell and Maddix collaborations, there was almost no traditional progressive or big room house left: rave, techno, and hard dance became the foundation.

For both producers, the track represented a kind of return to rave as a culture in its own right rather than simply an aesthetic associated with large festivals. DJ Mag separately highlighted Rave Till My Grave as one of Maddix’s central works from this period.

Armin van Buuren and the fusion of techno with trance

The gradual strengthening of the trance component in Maddix’s music led to a close creative relationship with Armin van Buuren. They performed together, while Maddix had previously created remixes of Armin tracks including This Is What It Feels Like, Computers Take Over The World, and Lose This Feeling.

In February 2026, Armin van Buuren and Maddix released the collaborative track Mouth Go LaLa featuring Caroline Roxy. The original idea was created specifically for one of their joint performances, while Armin’s official description emphasized the intersection between techno and trance. The extended version runs at 150 BPM, noticeably faster than the typical tempo of classic 2000s trance.

The collaboration logically continued Maddix’s own evolution. While in the mid-2010s he was positioned primarily alongside Hardwell and big room house, his later music could just as naturally intersect with Armin van Buuren, HI-LO, UMEK, hard techno, and the hardstyle scene.

MOVEMENT:X

On June 26, 2026, Maddix released the five-track EP MOVEMENT:X on EXTATIC. It included We Rave, Coming Home with Caroline Roxy, Acid For Breakfast, Over the Edge with RYVM, and My Favourite Regrets. The release was officially designated as techno and came out through EXTATIC under license from Revealed Music.

The EP demonstrates how far his contemporary sound has moved from the straightforward big room of the mid-2010s. Acid, trance melodies, fast rave drums, and hard transitions all coexist here, yet the structure still retains Maddix’s characteristic focus on the large dancefloor.

One month after MOVEMENT:X came another characteristic release, GABBER with Dutch hard techno producer DYEN. The artists deliberately drew on Dutch gabber and hardcore from the 1990s, expanding Maddix’s range even further toward more extreme forms of dance music.

Why Maddix’s music does not fit into a single genre

The term big room techno is often applied to Maddix and accurately describes an important phase of his development, but not his entire contemporary catalog. His music simultaneously incorporates elements of peak-time techno, acid techno, trance, hard dance, neo rave, hardstyle, and old-school festival EDM. Even Beatport distributes his releases across several very different categories — Mainstage, Techno, Hard Techno, Hard Dance, and Progressive House.

What remains consistent is not the genre, but the architecture of the track. Maddix favors a strong rhythmic foundation, short and easily recognizable vocal phrases, fast acid sequences, and a large climax. Even when the tempo rises above 150 BPM, the music retains the festival DNA of his earlier career: it is designed not only for a small dark club, but also for tens of thousands of people in front of a major stage.

Trance contributes primarily the sense of lift and melodic euphoria found in his work. Techno brings the physical repetition of the kick and harder pressure. Acid provides sharp TB-303-like lines, hard dance contributes speed, while his big room experience allows him to assemble all of these elements into an accessible festival narrative. This is why Maddix has received support at different stages from artists who would usually be considered part of very different areas of electronic music.

Maddix discography

Maddix has built his career primarily through singles, EPs, remixes, and collaborative releases rather than a traditional sequence of studio albums. For this reason, it is more representative to highlight the key works that defined each stage of his discography.

Selected releases from the early and big room period:

• Rampant — 2014;
• Raise Em Up — 2015;
• Riptide — 2015;
• Ghosts — 2015;
• Lynx — with Futuristic Polar Bears, 2016;
• Invictus — with Olly James, 2016;
• Smash This Beat — with Hardwell, 2017;
• Trabanca — with Junior, 2017;
• Bella Ciao — with Hardwell, 2018;
• The Prophecy — with Timmy Trumpet, 2018;
• Mangalam — with Will Sparks, 2018;
• People Are Strange — with KAAZE feat. Nino Lucarelli, 2019.

This catalog reflects the years when Maddix was primarily part of Revealed’s big room and festival EDM scene.

Key releases from the new period:

• Ecstasy — 2020;
• Technology — 2020;
• Tribe EP Vol. 1 — 2020;
• Superheroes — 2021;
• Acid Soul — 2021;
• PYDNA — 2021;
• The Formula — 2022;
• Culture — 2022;
• Heute Nacht — 2022;
• Take Me Away Again — with Hardwell and 4 Strings, 2023;
• Revolution — with Hardwell and Timmy Trumpet, 2023;
• ACID — with Hardwell feat. Luciana, 2023;
• Close To You — with KSHMR, 2023;
• My Gasoline — feat. Fēlēs, 2023;
• Hypnotizing — with UMEK, 2023;
• Open Sesame (Abracadabra) — feat. Leila K, 2024;
• 16 — with Hardwell and Blasterjaxx, 2024;
• Spiritum — with Vini Vici, 2024;
• My Fantasy — with HI-LO, 2024;
• Hellfire — with Gabry Ponte, 2025;
• Rave Till My Grave — with Hardwell feat. Villain, 2025;
• Mouth Go LaLa — with Armin van Buuren feat. Caroline Roxy, 2026;
• MOVEMENT:X — EP, 2026;
• GABBER — with DYEN, 2026.

The releases from this new period show a consistent transition from big room techno toward a much broader field of rave, trance, acid, and hard dance.

Remixes and working with electronic music classics

Remixes occupy a separate place in Maddix’s catalog. During his early period, he distributed unofficial reworks of Calvin Harris, Dannic, and other EDM artists, while later he gained the opportunity to officially work with music by artists who had themselves influenced his generation.

Among his most notable official works are remixes of This Is What It Feels Like by Armin van Buuren, Lethal Industry by Tiësto, Tell Me Why by Supermode, Traffic by Tiësto, Computers Take Over The World and Lose This Feeling by Armin van Buuren, as well as the collaborative Hardwell version of Satisfaction.

His frequent return to older trance, rave, and electro tracks is logically connected to Maddix’s broader aesthetic. His later style does not attempt to reproduce the 1990s or early 2000s literally. The producer usually preserves one recognizable melody or vocal idea while significantly increasing the speed, drum pressure, and scale of the climax.

Maddix and the new festival rave scene

Maddix occupies an unusual position between two generations of electronic music. His professional foundation was formed during the global EDM boom, when Spinnin' Records, Armada, Revealed, and major festival stages were among the main reference points for young producers. Yet the most visible phase of his career arrived in a very different era — one marked by the return of acid, trance, hard techno, gabber, and rave aesthetics to a large young audience.

Rather than completely rejecting his past, Maddix combined the two models. From EDM, he retained the ability to write music for enormous stages and create instantly understandable climaxes; from contemporary rave culture, he adopted greater speed, rougher sonic textures, and freedom from strict genre boundaries. EXTATIC Records became a logical continuation of this idea: the label officially prioritizes creative freedom over conformity to a particular style.

This is why Heute Nacht is better understood not as an accidental viral hit, but as the moment when Maddix’s long-term reinvention became visible to a mass audience. Nearly seven years separate Riptide and Heute Nacht, while eight years separate Smash This Beat and Rave Till My Grave. During that time, almost the entire electronic scene around him changed, yet collaborations with many of the same artists continued in a completely different musical language.

As a result, Maddix became one of the clearest examples of how a producer from the big room era can do more than simply adapt to a new trend and instead use his own past as part of a new style. Techno, trance, acid, hard dance, and festival EDM do not exist separately in his music: they form a single system designed simultaneously for rave culture and the largest festival stages. His ability to constantly change the proportions of familiar elements without losing his own identity is what defines Maddix’s place in contemporary electronic music.