Two hours of quality from Paul James Nolan…
Paul James Nolan approaches electronic music as a tool for transformation, using the booth not just to perform, but to hold space and guide a shared, immersive experience.
With a background in high-end audio engineering alongside artists like Sasha and Junkie XL, his technical precision underpins a sound that feels both tactile and emotionally charged.
With releases spanning Bedrock Records to When We Dip, his work is supported by artists including Hernan Cattaneo, John Digweed, Patrice Bäumel and Tim Green.
With a heavily anticipated official remix of Diabla by Funk D’Void slated for release on one of the world’s most influential electronic labels later this year, Paul continues to build momentum as a vital voice in the scene.
On this Balance Selections, he showcases that approach across a two-hour mix. Featuring tracks from Trentemøller, Four Candles, Redspace and more, it unfolds patiently before building toward an energetic finale.
Tracklist
01. Jamie Stevens – Tassolem (Soundtrack Version) {Music To Die For}
02. Trentemoller – Nightwalker {Poker Flat Recordings}
03. Analog Sense – Destination (Kebin Van Reeken Remix) {Venture Records}
04. Kazuki – Colour Breathing (FM & Futura City Remix) {Electronic Groove}
05. FJL – Time Fades {Higher States}
06. Blancah – Beyond The Stars (Danny In Space Remix) {Hiato Music}
07. Tiefstone, Camila (AR) – The Void {Plaisirs Sonores Records}
08. Jochem Hameling – Natural Flow (Hobin Rude Remix) {Plastic Fantastic}
09. Four Candles – Sparkling (Original Mix) {Keep Thinking}
10. Serious Dancers – ID (Kebin Van Reeken Remix)
11. Nikko Mavridis, FM & FC – Future Memories {Electronic Groove}
12. Nico Martinez – Tork {YOMO Records}
13. Redspace – Not The Same Anymore {Balkan Connection South America}
14. Faithless – Insomnia (Kebin Van Weekend Unofficial Remix)
15. Paul James Nolan – Mandarin Sunrise (HAFT Remix) {UV}
16. Guy J – Selector {Early Morning}
17. Subandrio & Maze 28 – Montreal At Night {Mango Alley}
18. Martin Fredes – Serpents {Vapour}
19. Guy J – Surreal {Early Morning}
20. Kostya Outta – Seguro (Paul James Nolan Remix) {inU Records}
21. Funk D’Void – Diabla (Paul James Nolan Remix) {Soma}
22. Vril – Aquarius (Paul James Nolan Unofficial Remix)
Name: Paul James Nolan
Location:Liverpool UK / Buenos Aires, Arg
Alias/Producer name: Paul James Nolan
Labels affiliated with: Bedrock, UV
My parents didn’t play instruments, but there was always music in the house. ’60s, Motown on the radio on a Sunday afternoon.
Top of the Pops on full blast on a Thursday night. Vinyl everywhere. Dad’s big stack hi-fi.
Sitting alone in the dark with headphones on, quietly terrifying myself listening to Jeff Wayne’s War of the Worlds.
It was my elder sister, Sandie, who introduced me to electronic music. She caught Acid House in full flight. The Second Summer of Love. Illegal raves in Milton Keynes. Police raids. Carl Cox on three decks. Fantazia. Quadrant Park.
Tape packs brought home after disappearing for three days, returning with wild eyes. That was my initiation. Putting the first cassette into my Walkman and pressing play is a moment I’ll never forget. That music felt like it came from another dimension. It still does.
She bought me Cream Anthems ’97 for Christmas that year. That’s when trance and progressive hit me like a tsunami.
Paul Oakenfold. Cream reopening. January 24, 1998. His first night in The Courtyard. I lived 15 minutes away. The best club in the world. The most iconic residency. On my doorstep.
I turned up in an acid green Ben Sherman shirt, brown Chelsea boots, a terrible gold chain. No idea how to get in. Even less chance of getting in. Line around the block and then some.
Then a kind soul spotted my clueless ass. I was basically the John Travolta meme, spinning in place. He offered to get me in for free on the guest list. His friends never showed.
I bought him a drink once we were inside. He walked away. I never saw him again.
He’ll never know how much he changed my life that night.
Sasha. It’s still surreal to me that this guy, who was my musical hero, who turned my whole life upside down the first time I saw him play, is not only someone I ended up producing music with. I was part of the production team for his Scene Delete, and he’s been a very dear friend and supporter for a long time. His sets, his ability to find and amplify emotion, is second to none.
Patrice Bäumel. We have a very close friendship, and his relentless drive for excellence across incredibly long sets blows me away. I recently had the privilege of being at Warung Beach Club to witness his 13-and-a-half-hour b2b with Hernan Cattaneo. Possibly the best night of electronic music I’ve ever experienced. Simply exquisite.
Tim Green. Another close friend. What he fits into his tracks, musically, rhythmically, in sound design, texture, emotion, it’s hard to put into words. A true musician. A craftsman. A gentleman. I had the honour of working with him in the studio last year on new material. He’s taking it somewhere else this year.
And outside that circle, Trentemøller. Utterly timeless albums like The Last Resort and Into the Great Wide Yonder still inspire me to this day.
I’ve got pretty eclectic taste. When I’m not working on electronic music, I either want a really well-recorded human voice in podcast form, silence, or something completely opposite.
I’m a bit of a closet metal fan. So the last album I downloaded might surprise a few people. It was Skeleta by Ghost.
Absolutely brilliant band, top to bottom. Tobias Forge is a genius.
I’m completely in the box. I have to be, bouncing between the UK and Argentina.
For production, I’ve actually moved back to Logic Pro. It wasn’t planned. It just happened because the workflow clicked in a way it hadn’t for a while. Everything felt faster, more fluid. I still love Ableton Live, and I’ve spent time in Cubase too. But for this current season of work, Logic has been incredible for me.
For DJing, I keep it simple. A Pioneer DJM-V10 and as many CDJs as I can get my hands on.
At the same time, I’m working on bringing surround and immersive audio properly into DJing through my work with d&b audiotechnik and their Soundscape systems. The goal is full 360-degree shows. Not as a gimmick, but as a genuine shift in how music is experienced.
I genuinely think that’s where this is heading. Within five years, immersive audio won’t feel like an experiment. It’ll feel obvious.
2026 is the year the music really starts flowing. More consistency. More output.
I’ve got a run of remixes coming for Golden Wings Music, Music To Die For, and Nightcolours, alongside an original EP for Nightcolours as well.
The one I’m most excited about is my remix of Diabla by Funk D’Void. It got a huge reaction at Balance Croatia last year, and it’s finally set for release before the end of this year.
I’m currently in Buenos Aires, Argentina, my second home and working on new dates before I return to the UK on June 6th to play alongside my great friend Patrice Baumel and Dave Seaman for InU x Oscura at Digital in Newcastle.
Marty Supreme.
The Expanse
Tisno, Croatia. I hear first week of August is pretty good. 😉
