Flux BPM Online

The Architect of Space Electronic music, at its most potent, serves as a catalyst for collective release. For Paul James Nolan, the booth is a vantage point for observation and a platform for holding space. His performances are crafted not just to entertain, but to facilitate a visceral, immersive experience where the boundary between the individual and the room begins to blur. It is an intentional approach to the dancefloor — one that treats the night as a transformative arc, inviting the audience to disconnect from the external and drop into something far more profound.

The Technical Foundation: Precision & Presence Paul’s reputation was forged in the demanding world of high-end audio engineering, working alongside titans like Sasha and Junkie XL, and contributing to the sonic landscape of projects like the acclaimed Late Night Tales: Scene Delete. This technical pedigree—evident in his releases for Bedrock and Paul Thomas’ UV—is now the engine behind a more singular mission. He uses sound as a tactile force, employing precision-tooled frequencies to command the room’s energy. It is sound design with a pulse; a sophisticated interplay of shadow and light that demands presence.

Mentorship as Empowerment: MYT This same ethos of transformation defines MYT, Paul’s platform for artist development. Far more than a technical school, MYT serves as a sanctuary for creators to find their authentic voice. Paul approaches mentorship as a form of spiritual and personal development, empowering a new generation of artists — including the likes of Massano and Four Candles —to navigate the industry not just as producers, but as intentional creators who understand the responsibility of holding the room.

Revolutionary Soundscapes and New Horizons This commitment to deep immersion has naturally led Paul to the frontier of spatial audio. Working in a consultancy capacity with d&b audiotechnik, he is helping to spearhead the rollout of the Soundscape 360° systems. By removing the limitations of traditional stereo, Paul is able to wrap the audience in a living, breathing sonic environment — furthering his pursuit of music that bypasses the analytical mind.

Perhaps it is no surprise that a man who views transformation as a key tenet of his philosophy should have recently uprooted from Liverpool to Buenos Aires. Inspired by the vast, alien landscapes of the Argentine salt deserts, Paul James Nolan has entered a new phase of his career—one defined by a reconnection to his roots and a fearless path forward.

With a heavily anticipated official remix of the classic ‘Diabla’ by Funk D’Void slated for release on one of the world’s most influential electronic labels later this year, Paul continues to gain ground as a vital voice in the scene.

Supported by legends like Hernan Cattaneo, John Digweed, Patrice Baumel, and Tim Green, his music remains a reminder of our need for community, belonging, and the deeply human power of the dancefloor.

In this exclusive interview, we dive into the mind and music of Paul James Nolan, an artist whose approach to electronic music is deeply rooted in transformation, precision, and emotional resonance. From his beginnings in high-end audio engineering to mentoring the next generation of creators through his MYT platform, Paul has consistently pushed the boundaries of sound design and performance. Recently relocated to Buenos Aires, he continues to explore the frontier of spatial audio and immersive experiences, with upcoming releases like his long-awaited remix of Funk D’Void’s “Diabla.”

Paul James Nolan: The EP is really a convergence of many aspects of my life, technically, musically, spiritually. The title track, Mandarin Sunrise.

Paul James Nolan: Every track I make is a highlight of my growth as an artist. It's an iterative process, and has been since my first release in 2011 and will be until the day I shuffle off this mortal coil.

Paul James Nolan: I have 3 'everything' synths that do the vast majority of the heavy lifting for me in the studio these days - Omnisphere 3, Serum 2 and Arturia Pigments 7. I can create literally anything with one of these 3 synths, I know them deeply and have used their various iterations for years.

Paul James Nolan: I don't. I'm 100% in the box and I like it that way :)

Paul James Nolan: The lead melodies for Mandarin Sunrise were created using a combination of Diva in multiple layers, all expressing slightly randomised MIDI sequences based on the main riff patter, using Ableton's MIDI effects such as Random, Scale and Note Echo. My approach is always something very simple that is perceived as more complex via precise processing

Paul James Nolan: I've done Sound Design for many years across both music and film, and have worked with Hollywood composers such as Jeff Rona and JunkieXL, as well as electronic icons like Sasha. Working with such geniuses really does open up so many worlds, whether it be with Eurorack modular gear when I worked with Sasha on 'Scene Delete'.

Paul James Nolan: Mandarin Sunrise was an example of simplicity over everything else. It's less than 30 tracks total. Transmute, the breaks track on the flip side, was about 12 I think. There's constant granular processing, resampling of synths, vocals and other elements going on, that help shape the contour of the expression and ratio of tension and release in the EP. I learned that whilst working with JunkieXL - keep it simple, but no sound goes untouched, everything has to have depth and a role to play, and that's how I try to bring a cinematic easthetic to my electronic music tracks.

Paul James Nolan: Excellent raw materials, highly curated, selected in very specific combinations, in order to create the end result with as minimal amount of mixing processing and trickery as possible,. I spent 75% of the time on crating a track on just picking the right sounds, as when this is done well, everything else tends to take care of itself and everything unfolds organically.

Paul James Nolan: Not applicable as I don't use hardware ;) This is EXACTLY why I don't use hardware, as I move so quickly I don't have time or patience for issues like keeping everything in sync.

Dimitris: When listeners hear this track, what subtle sound design details or hardware-driven elements do you hope they’ll notice that reflect your technical growth as a producer?

I just hope they feel the music, stop analysing it, and understand the story I'm trying to tell. If they are standing there analysing what my kick sounds like and not dnacing, then I've failed as an artist. It's meant to be about letting go, on the dancefloor, not chin stroking.

Paul James Nolan: Dropping many more bangers on a regular basis. I have a remix of Funk D'Void's iconic track 'Diabla' dropping later in the year, and I'm playing some wonderful shows in Argentina and UK, most notably Digital Newcastle on June 6th with Dave Seaman and my good friend Patrice Baumel.

Paul James Nolan: Regular releases. I'll have something dropping every month for the rest of this year at least. Then more and more touring.

Paul James Nolan: Too many to mention. I've already worked with so many legends in engineering and sound design capacities - Sasha, JunkieXL, Tim Green to name a few. It'd be fun to fold back to all of these heroes of mine, who have become great friends to me, and do something that carries both of our names above the door.

Paul James Nolan: It doesn't and it shouldn't. I'm VISCERALLY anti AI, and I believe very strongly the only two true use cases for AI in music is for sample analysis and discovery, and stem separation. Everything else is quite frankly anti artist, completely fucking useless, and any artist who uses it to make the music for them, isn't an artist at all and shouldn't be making music at all. True Artists will win in the end. We always do.

Paul James Nolan: We need to rediscover that electronic music is truly about healing and transformation, in both individual and collective contexts. It's not about clout, your social numbers, even the silly little videos you take during parties that you never watch again because you've been manipulated into capturing the moment rather than living it. We need electronic music culture at its finest, more than ever, given how fucked up the world is, and through it, we can rediscover and remember our essential humanity and that there is far more that unites us than divides us.

Paul James Nolan: I don't! Music is everything to me - making it, coaching artists to be the best they can be, playing sets, creating. It's my entire life, and I actually think 'balance' is a myth. Only the ones who are obsessed to the point of delusion lead a truly fulfilling life in their chosen artform. Yes, we need to look after ourselves, and I certainly do that - lifting heavy weights, Brazilian Jiu Jitsu, Hot Yoga, Sauna, Cold Plunges, plant medicines...but it's all in service of optimising myself so I can be of even deeper and greater service to humanity through my art and music. That's the mission. That's all the matters.

Paul James Nolan: Learn your craft properly. Respect the history. Learn to DJ on vinyl first. Go crate digging. Listen to the icons that built this scene and culture. Be willing to start from the bottom and work your way of gradually. Humble yourself. Leave your ego and entitlement at the door because nobody gives a shit. You are in service to the music and the culture, not the other way around.

Paul James Nolan: It just has to be something I can feel. I'm very much a harmonic mixer and a big believer in it - it's music theory at the end of the day and it does make a big difference in terms of storytelling and how people connect with the narrative over the course of a set. I'm a big user of Mixed In Key, and that can throw up some surprising connections across energy levels, musical keys and genres that IU may not already have considered.

Paul James Nolan: I've been mostly studio based in recent years, working on coaching and producing and sound designing. Now I'm taking the step out from behind the curtain, to take centre stage myslef, so I look forward to figuring this out as time goes on!

Paul James Nolan: I think it would be natural to do that. Road testing tracks, seeing how people react on the dancefloor, is essential intel for how the storytelling, musical ideas, arrangements, mixdowns and masters all work to create the optimal experience.

Paul James Nolan: Thanks for taking the time to read this amazing opportunity for me to express something deeper on musical and philosophical levels. It's rare to get questions this good! Hopefully everyone reading takes something interesting from it, and will come and see me at a show in the near future.

A massive thank you to Paul James Nolan for sharing his journey, creative process, and philosophy with such honesty and passion. His commitment to authentic expression and the transformative power of electronic music is a timely reminder of why this culture matters. We look forward to hearing his upcoming releases and experiencing his immersive sets that continue to connect and inspire audiences around the world.

Paul’s music is driven by an ethos of healing and collective transformation on the dancefloor. He favors simplicity and precision in production, relying heavily on software synths like Omnisphere 3, Serum 2, and Arturia Pigments 7. Remaining entirely “in the box,” he avoids the complications of hardware setups, focusing instead on refining his craft within a digital environment.

His creative process emphasizes selecting excellent raw sounds and then transforming them through granular processing, resampling, and layering to create cinematic depth. Mentorship and artist development are also central to his mission, with MYT serving as a platform to nurture authentic creative growth. Nolan is strongly opposed to AI-generated music, maintaining that true artistry stems from human dedication and emotional investment.

Looking ahead, his plans include monthly releases, global touring, and exciting collaborations with legendary peers. Special thanks go to Paul Thomas from UV/UV Noir for helping make this interview possible.

UV record label heads Paul Thomas and Das Pharaoh (Fadi from Aly & Fila) invite you to a one-off, free night of progressive house in London. Known for championing quality prog from across the scene, UV has built a reputation around depth, atmosphere and dancefloor-first energy. This event is no different.

On 20th March at The Lower Third, UV host a free entry event where Paul Thomas and Das Pharaoh will go back-to-back all night, digging deep into their sound and taking the room on a real journey.

The show will be recorded as part of the Underground Live Forever series.

Please note that a free ticket does not guarantee entry. Arrive early to avoid disappointment as entry will be on a first come, first serve basis.

Additional info: