Now based in Buenos Aires, James’  latest chapter unfolds with rekindled passion. In this wide-ranging conversation, Electronic Groove dives into the mind of a modern-day polymath, discussing the philosophy driving his teaching, psychedelics, the evolving role of AI in music, MYT, the inspiration behind his most recent release with Brent Lawson, and more.

EG: Hi Paul! Thank you for being here with us today. It’s a pleasure to catch up, especially to do so in your new home in Buenos Aires. How’s the experience treating you so far?

PJN: I was in LA from 2015 to 2017, and went back and forth between the US and England, and this experience here in Buenos Aires feels different. I feel like I’m setting up my future, essentially…you know? I’ve been here for a year, and I’m 45 now. So shit kind changes…time changes your perspective. But the good news is that Carl Jung is kinda right, life really starts after you’re 40. In both good and not-so-good ways.

EG: Well…speaking about Jung. From seeing your posts on social media and our conversations, one can immediately tell that you’ve taken an interest in the “human condition”, trying to really grasp our experience here and now. And not only that, but our interactions with psychedelics…

PJN: Oh, yeah. They have been a big part of my life, and still are. Although this past year, most of my “peak” experiences have been with MDMA. So it’s been a bit different, but the whole thing is still an inside job. Intention is everything. You’ve got to go into it with the right reverence and respect for it. Right? And also, the right reverence and respect for yourself. In that sense, to me, they are not to be fucked with…you know? I’ve seen countless people come with a lack of those, and it’s always them who end up with “bad trips”. Which, in all honesty, I don’t think that there’s such a thing. There are only challenges.

We shape the quality of our own experiences. So you can either be in power and deal with what will come with some form of serenity, or you can be out there forcing things, trying to make the square peg into the round hole.

EG: Going into the backstory of the artist…How did you get into DJing? What was it like when you got into it?

So, I had a friend who invested in probably the worst set of turntables to this day…they were a pair of Ariston turntables, which as you know, is a brand that is known to make fucking dishwashers and home appliances. The belt drive was terrible to begin with, but the worst part was that the pitch control was only like +2/-2, and it was this fucking dial. You just could NOT touch the platter. An absolute nightmare, but it was a great way to learn in the end. If you could mix on them, you could mix on anything. So, he went on holiday, and let me borrow them, and that was it. It just clicked. I always tell my students and friends that, if they can, learning to DJ with vinyl goes a long way in that sense.

In 1998, I went to university, and I was a part of the last intake of students under the old system, which meant I got money from the Government to attend. So, I got money for “books”, and by that, I mean my first set of Technics.

And also, that moment in time, 1993 to 1997…I’d say that was the pinnacle of it all, in terms of the culture or counterculture. Roni Size & Reprazent had won a Mercury Prize for their debut studio album ‘New Forms’; you had Massive Attack’s ‘Mezzanine’; Faithless; UNKLE’s ‘Psyence Fiction’; ‘Fat Of The Land’ by The Prodigy, and Chemical Brothers’ ‘Dig Your Own Hole’…Which I probably rank as the greatest electronic album of all time.

EG: And how does MYT come about? When do you step into the role of a teacher? What was it that made you want to pursue a career where you uphold others?

PJN: MYT came about as a logical extension of my teaching work. I’ve been a teacher of music production since 2008, and simply put, it’s one of the things, alongside DJing and production, that I was put on this earth to do. After many years teaching in various establishments, private institutions, colleges, universities, etc, I went freelance as a 1:1 tutor, and after a few years, I started to get a little burned out and frustrated with the impact I was having.

I asked myself if there was a more efficient way to reach more people, build a community at scale, and yet, keep things intimate, as the more humanistic side of what I do as a developer of artistic talent has always been what I loved the most, and honestly, makes the most difference to an artist, their creative output and their lives.

In September 2019, I launched MYT as a community product with online courses, a supportive container to incubate the talent of tomorrow. We started strong in terms of numbers, and then, when the pandemic hit, numbers skyrocketed. I was full-time on MYT from that moment on, thankfully, and the worst set of circumstances actually created the conditions for me to rapidly build MYT as a business. We’ve just turned 5 and a half years old, and the success has been insane. It’s an amazing feeling to watch the artists we’ve developed in that time go and walk on their own, and when they’ve had as much success as the likes of Massano and Four Candles, I also feel that amazing vindication of our methods, perspectives, values, and approaches work. They REALLY work.

“[…] the more humanistic side of what I do as a developer of artistic talent has always been what I loved the most, and honestly, makes the most difference to an artist […]”

EG: In your opinion, as a teacher, how important is it to have meaning behind what we create?

PJN: I think it’s all about finding the correct balance. One of the things I’m most proud of is that not only do I have an association, but I also have a very strong friendship with my musical hero, Sasha. And I remember that we were working on one track in the ‘Scene Delete’ album, and I was just going in too deep, so I asked Sasha what it was that we were doing, what the track was about…and he just looked at me and said: “Oh, fuck you Paul. Just shut up and write it”. That, there and then, was a great lesson. It’s OK to just do it and find its meaning later. But I also know that you gotta put that work in, sooner or later. You can’t just keep calling your tracks “Tunnel”, or “Fragments”, or whatever you open your fucking dictionary to.

EG: How do you navigate all these technological advancements, like AI, with your students?

PJN: Well, the paramount question here is “how do I get the most out of ME?”. And the truth is that there are some great tools out there, like the ones used for stem separation, or to “suggest” similar samples. These, for example, enable me to sort of “reverse engineer” how some of the reference tracks that my students bring were made. So, if these things are empowering me as a teacher or as a creator…then, welcome. But, I’d say that the vast majority of the things AI has to offer, they don’t do that. As soon as they do the work FOR you, then…well, fuck that.

EG: Now, keeping in line with the “studio” chat…You’ve got your new EP out, ‘Ethereal Pulse’, a collaboration with Pro B Tech Music’s Brent Lawson, which also features remixes by Hernán Cattáneo & Mercurio, and Martin Gardoqui. Congratulations! How are you feeling about this one? How did it come about?

PJN: Brent is a dear friend and someone I’ve mentored on and off over the years. It’s been amazing to see the slow and steady rise of Pro B Tech Records over the last decade, and Brent is a top-notch example of consistency and doing it for the love.

The funny thing with ‘Ethereal Pulse’ is it was a track that we fucked around with for a couple of years, and we went back to the drawing board several times, without putting any expectation or pressure on it to be like “a thing”, you know?

When we finally nailed it last year and got the vibe we wanted, Brent suggested we send it to Hernán, and to our surprise, Hernán loved it so much he wanted to remix it, and boy, did he and Mercurio do a job on it. It’s one of the cleverest, most beautiful remixes I’ve heard, certainly on the tracks I’ve produced in years gone by. It’s got an amazing old school feel, and with how Hernán and Mercurio have twisted and repurposed some of the musical ideas from, say, a synth to a Rhodes piano, it gives me serious vibes of ‘Knights of The Jaguar’ aesthetically, but done in a very tasteful modern way. Epic.

EG: What would you consider a “successful” collaboration? What are some of the tips you give your students in this particular regard?

PJN: A successful collaboration is one where the people involved have complementary skill sets. If one of you is great at arranging and the other is better at sound design, then you have a match made in heaven. Successful collaboration is about learning from the process and each other, and in the end, that creates even better art, as nothing fuels inspiration more than seeing someone you are working with create in a way that fires something in you, and helps you round off your skillset. Think very carefully before you respond to the next “collab bro?” DM you get on Instagram. Haha!

“Successful collaboration is about learning from the process and each other, and in the end, that creates even better art […]”

EG: What’s next for Paul James Nolan? What can we expect from you and MYT in the coming months?

PJN: We have an insane amount of amazing music coming from our members on MYT’s record label, Emergent Properties, and some brilliant remixes. We’re increasingly bringing some of the bigger names in electronic music to the label as a way of highlighting the talent we’ve been incubating, so soon we have epic remixes coming from Gai Barone and Luca Abayan, and we’re working on some other big hitters.

I’m excited to re-release my album from a couple of years back, ‘Dissolve’. This is a project very close to my heart, an album that both expresses my own story, as well as helping people navigate psychedelic experiences. We’re releasing it on Emergent Properties, as well as a remix album with some amazing dance floor-based reinterpretations of these very ambient but intense tracks.

Outside of this, expect a lot more in the way of DJ gigs and tours, both inside of Argentina and internationally.

Paul James Nolan & Brent Lawson’s ‘Ethereal Pulse’ is out now via Pro B Tech Music, featuring remixes by Hérnan Cattáneo & Mercuio, and Martin Gardoqui. Purchase your copy here.

Follow Paul James Nolan: Soundcloud | Spotify | Instagram | Facebook

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Photo Credit: Will Jaques

 “I’ve always been into music growing up, but started out by listening to hip hop mainly,” Franky recalls. “I’m still a huge fan of hip hop and always will be, but there was a time when I naturally shifted my attention to electronic music.”

That shift marked the start of a journey that would eventually take him from the confines of a makeshift studio — an old computer in a shed behind his parents’ garden — to some of the most revered stages in the world. Surrounded by a community of talented producers in his hometown, Franky quickly found his footing, learning the technical nuances of production while honing a distinct sound centered on emotional resonance. “It all started from there, really,” he says, reflecting on those early, formative years.

Rather than a single defining moment, Franky Wah’s career has been a succession of breakthroughs — each one building on the last. “It’s hard to just pick one,” he admits. “There have been so many moments that have felt like a breakthrough. Most recently, bringing my live show back for a sold-out London show was huge. The Ibiza residencies were obviously a massive milestone too, alongside revisiting the ‘The Revival’ mixtape series with Volume 2 this month.”

Key among those early successes was the 2020 release of ‘Come Together’, a track that remains a pivotal marker in his evolution. “It really cemented my place in the dance scene and opened so many doors globally,” Franky says. “I still get messages today from people who connected with that track when it first came out — it’s mad to think about how far it’s travelled.”

Whether producing melodic anthems, brooding club cuts, or expansive live sets, Franky’s goal has always been consistent: to create a journey. “I want it to be an artist project with tracks that can exist in and outside of the club,” he explains. “I want people to feel something genuine. Every track is like a snapshot of where my head is at that time.”

In 2022, Franky took a decisive step toward even greater creative autonomy by launching his own label, SHÈN — a move rooted in authenticity and vision. “‘SHÈN‘ means ‘spirit’ in Chinese,” he shares. “That connection to energy and emotion is a big part of what I try to put into my sets and productions. I wanted a platform where I could release music without any restrictions — where the only real guideline was the feeling and the quality.”

Today, SHÈN continues to gain momentum with carefully curated releases, high-profile showcases, and a residency on the white isle of Ibiza — all driven by the mission to foster a genuine community around music that transcends genre limitations. “The plan is to keep developing it and building a home for like-minded artists and fans,” Franky says.

Although much of his energy has recently gone into building SHÈN, 2025 marks the beginning of a new chapter for Franky Wah’s live show. “Over the past couple of years, I’ve been really focused on building SHÈN, which has been amazing, but it’s meant I’ve had to put the live side of Franky Wah on hold,” he admits. That hiatus ended in March, with a landmark sold-out performance at Hackney Church — a show that reignited his passion for live performance and opened the door for an ambitious new chapter. “It was a great opening show to continue building something special and showed us what we can do, music-wise and production-wise,” he says.

At a time when electronic music can often feel saturated by trends, Franky Wah’s music stands apart because of its depth and emotional weight. “One of the things that’s helped me stand out sonically is that emotional thread that runs through everything I make,” he reflects. “Whether it’s melodic, progressive, or a bit deeper and darker, there’s always a real feeling behind it — it’s never just about making a track that bangs in a club.”

This focus on authenticity resonates both in his studio work and in his performances. “When I approach my performances, it’s always about creating a journey,” he says. “You’ve got to read the room, feel the energy. It’s that tension and release that makes a night memorable.”

The future for Franky Wah looks expansive. With new live shows in the works, SHÈN’s continued rise, and a full-length album scheduled for 2026, he is set on building something that goes far beyond individual tracks or fleeting moments. “Lots of things coming and I’m excited for all of them,” he says.

In every step, whether through music, performances, or his label, Franky Wah remains true to the spirit that first led him into music: a desire to connect deeply, honestly, and without compromise.

Follow Franky Wah: SoundCloud | Instagram | Spotify | Facebook

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Sudbeat is not defined by aesthetic gimmicks or algorithm-chasing playlists. It has built its stature through a meticulous approach to curation and a rare refusal to bend to the whims of trend cycles. In the words of Cattaneo himself, “We have a wide but very clear sound and we stay there beyond fashions or trends.”

That clarity has been instrumental in cultivating a catalog that reads like a masterclass in long-form dancefloor storytelling — Petar Dundov’s melodic expansiveness, Satoshi Fumi’s technoid elegance, Randall Jones’s elasticity, or Soundexile’s modular alchemy — all framed by the unmistakable Sudbeat filter.

The imprint’s core strength lies in its dual commitment: simultaneously elevating emerging South American artists like Mariano Mellino, Ezequiel Arias, Kevin Di Serna, and Simon Vuarambon, while continuing to work with titans of the genre, including Nick Warren, Guy Mantzur, and Danny Howells.

In this regard, Sudbeat isn’t merely a label — it’s an ecosystem, carefully balancing the local and the global, the veteran and the new voice. As label A&R Graziano Raffa puts it, “What motivated us in 2012 is the same thing that motivates us today — music.”

That insistence on quality has allowed Sudbeat to endure and expand — not just as a platform, but as a culture. The label’s visual language, consistent and instantly recognizable, echoes the early 2000s ethos when label sleeves and logos carried weight. It’s an ethos that continues to resonate with audiences looking for something more tactile in a digital-first world. And beyond its output, the brand’s foray into showcases and bootcamps like its Aulart collaboration signals a desire to deepen the imprint’s relationship with its community.

But Sudbeat’s real innovation is subtle. There’s no pivot to short-form content, no audible grasp for social media virality. Instead, the label focuses on what Cattaneo has always embodied behind the decks — a steady, deliberate narrative arc. This same vision informs the way releases are sequenced, how EPs are paired with remixes, how compilation series like ‘Showcrates’  act as snapshots of evolving scenes and new affiliations.

“In a world where so many are making electronic music, I think the most authentic will be the ones who go farther,” says Hernan. That authenticity is reflected not just in the music but in the structure and sustainability of Sudbeat’s operations. It’s a label that thrives on artist development, and one that seems unfazed by the speed of current digital culture. Raffa puts it more bluntly: “Creation should be less product and more instinct.”

What results is a rare thing: a label that listens as much as it speaks. Whether through its bootcamp initiatives, consistent A&R work, or simply the way it champions long-term creative growth over momentary success, Sudbeat has managed to remain relevant without ever feeling reactive.

Now, more than a decade in, the label has reached the kind of maturity few independent imprints ever achieve — not just in volume, but in purpose. There’s no blueprint for that kind of longevity, only intuition, trust, and time. And Sudbeat, true to its name, continues to move at its own pulse.

Follow Sudbeat Music: SoundCloud | Instagram | Beatport

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Photo Credit: Jonathan Zawada

 Emerging in the early ‘90s, Pritchard quickly distinguished himself from the mainstream currents of UK dance music. His first brush with commercial success came unexpectedly as Shaft, when his playful hardcore track landed in the UK top 10—a moment that set the stage for his lifelong avoidance of mass visibility. He responded not by capitalizing on the momentum, but by dispersing into an ever-growing network of aliases: Reload, Link, Harmonic 313, Troubleman, The Chameleon, and Jedi Knights, among many others. Each name marked a different sonic pursuit, from the expansive, Detroit-inflected techno of Reload’s ‘A Collection of Short Stories’  to Link’s razor-sharp drum & bass and the broken-beat explorations of Troubleman.

Among his many projects, Global Communication, his collaboration with Tom Middleton, remains one of the most celebrated. Their 1994 album ’76:14′ set a benchmark for ambient techno, a luminous, introspective journey that found a devoted audience beyond the club circuit. In a parallel universe, Pritchard and Middleton also produced under the alias Jedi Knights, crafting funk-infused electro that paid homage to the genre’s originators while infusing it with a distinctly UK sensibility.

One of the defining characteristics of Pritchard’s work has been his seamless integration of electronic music with other genres. His productions often blur the lines between ambient, techno, IDM, drum and bass, and even elements of jazz and funk. This genre-fluid approach made him a sought-after collaborator and remix artist, allowing him to work with artists across the musical spectrum.

The late 2000s and early 2010s saw Pritchard continue to push boundaries. Under his own name, he experimented with more complex rhythmic structures and embraced live instrumentation, incorporating organic sounds into electronic frameworks. Albums like ‘Under the Sun’ (2016) displayed a more stripped-back, nuanced side of his artistry, balancing intricate rhythms with lush, emotive melodies. This period cemented his reputation not just as a producer but as a bonafide sonic storyteller, capable of conveying emotion and narrative through sound.

In addition to his solo work, Pritchard collaborated with a range of artists, contributing to the works of artists like Burial, Boards of Canada, and Massive Attack, further underscoring his versatility and wide-ranging influence within electronic music.

By 2013, Pritchard had retired his many monikers, choosing instead to release under his own name. His partnership with Warp Records led to a period of deeper, more introspective work. ‘Under The Sun’ (2016) and ‘The Four Worlds’ (2018) marked a shift away from club-centric productions toward richly detailed, often cinematic compositions. This phase saw him working with an eclectic roster of collaborators, including the enigmatic outsider musician The Space Lady and folk visionary Linda Perhacs. But it was his collaborations with Thom Yorke that garnered the most attention.

Yorke, a longtime admirer of Pritchard’s work, lent his spectral vocals to the ‘Under The Sun’ haunting centerpiece, ‘Beautiful People’. The track, a skeletal, slow-burning meditation, felt like a natural extension of both artists’ shared love for melancholy electronic textures. Yorke’s voice, fragile and searching, floated over Pritchard’s ghostly synths and delicate percussive framework, resulting in a piece that felt both deeply personal and cosmically distant.

The collaboration deepened with ‘Infinity’, released in 2021, where Pritchard pushed Yorke’s vocal textures further into ambient and techno realms. The track showcases Pritchard’s mastery in layering complex beats with Yorke’s signature vulnerability, yielding a piece that is both introspective and kinetic. Critics hailed ‘Infinity’ as a perfect synthesis of both artists’ strengths, with Pritchard’s sound design giving Yorke’s ghastly melodies new dimensions.

Now, as Pritchard prepares to release his latest album, fans are eager to see how these collaborations have influenced his latest work. The album promises to further blur the boundaries between electronic music’s subgenres, weaving in ambient textures, complex rhythms, and live instrumentation—hallmarks of his enduring style. If his past work is any indication, this release will not only reflect Pritchard’s mastery over electronic music’s myriad forms but also push its boundaries yet again.

Follow Mark Pritchard: SoundCloud | Instagram | Spotify | Facebook

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Over the years, he played alongside world-renowned DJs such as Sasha, John Digweed, and Deep Dish at elite venues like Pacha Ibiza, The Cross in London, and Crobar in New York and Miami. His production work also earned acclaim, with his track ‘Please Call’ receiving a perfect rating in DJ Mag and Pete Tong’s essential track of the month.

Jonathan expanded his influence as a club owner and music coordinator, playing a key role in the resurgence of Miami’s The Shelborne Beach Resort by co-founding Shine. The venue became a hotspot for global talent, hosting legends like David Guetta, Paul Oakenfold, and Frankie Knuckles, alongside major poolside events featuring artists from various genres. His continued success secured him a residency at Pacha Ibiza, making him the only American on its prestigious agency roster. He has since toured internationally, performing at major festivals and top clubs worldwide. His production work remains highly regarded, with tracks featured on compilations like Café Mambo and Hed Kandi. With an ever-growing presence in the music scene, his career continues to soar, solidifying his status as a leading force in electronic music.

We had the chance to chat with Jonathan Cowan ahead of his performance to celebrate   Danny Tenaglia’s 50 years behind the decks DJ Mag event on March 29th at Miami’s  The Sagamore Hotel.  Grab your tickets here.

EG: Hi, Jonathan! Welcome to EG. It’s a pleasure to have you here with us. How have you been? Where are you right now?

Jonathan Cowan: Hey! Thanks for having me. I’m doing really well. I am currently at my office in Hollywood, Florida, which is probably 30 minutes away from South Beach, where the events will be this weekend. And I am lying on my couch in the office, feet up, head on a pillow, trying to relax as much as possible before this madness begins next week, or tomorrow. Next week, what am I talking about? It starts tomorrow!

EG: Obviously, you must be really excited! First of all, congratulations on what will be DJ Mag’s return to the Sagamore Hotel in South Beach for Miami Music Week.

Jonathan Cowan: Thank you. I’m excited, you know, nervously excited. This relationship with DJ Mag is something that’s special to me. It’s been something that I’ve had for a long time. Used to do all the events at The Shelborne, from about 2008 through 2013/ 2014, and that’s when we initially started our partnership at The Sagamore. So it’s been a really nice relationship having them start the week with their DJ Mag Party, which obviously has the Martinez Brothers tomorrow, which is just going to be an amazing way to start off the week. But then, having them involved throughout the whole week as a media partner and Pioneer as a partner on site, it brings a lot of different artists into the property that aren’t even playing. So it really just makes the hotel a very unique, special place, and it’s quite an experience, so we’re really looking forward to it.

EG: What can Miami Music Week attendees expect this time around from the event series? And what can we expect from your performance alongside Danny Tenaglia and Nicole Moudaber on the 29th?

Jonathan Cowan: I can tell you it’s going to be an amazing week. We have all the best brands starting Wednesday with DJ Mag, Defected on Thursday. Then Friday, Hot Since 82 with Knee Deep. Saturday, obviously, like you said, with Danny Tenaglia, Nicole Moudaber, and me. And I’m very excited for Sunday with Glitterbox. Having DJ Jazzy Jeff playing a disco set…to me, that is just the ultimate booking. Really excited about that. I can’t really think of anything better.

As for Saturday, my set will be a nice, four-hour set, which is something I haven’t been able to do in a long time. I’m excited to do it. I always love doing the opening sets, always cherish setting the push the boundaries a little bit. And Nicole will start a little bit harder than I tend to play, so that definitely excites me. And then, you know, playing on the bill with Danny is something I’ve done countless times over the years, but it’s always a pleasure. He’s a mentor. He’s a friend. He’s an icon to me in this industry. So it’s an honor to share the bill with him, especially the way he’s billing this day…50 years of Danny Tenaglia on the decks. It’s just a special event to be a part of.

EG: You’ve been doing this for quite a long time, a true staple of Miami Music Week for over 20 years now. Congratulations on having such a lasting impact on the scene. How do you feel about all of the things that have transpired since ’92, and how much work goes into pulling something like this off?

Jonathan Cowan: It’s a labor of love, for sure. I think my passion’s always been for the music and the DJ side of things, and I think that keeps me interested in doing the events, but it also keeps me current with who the artists are, the DJs, the producers, things that are going on, and it’s been quite a journey.

We started, like you said, in the early 90s, just doing events under a production company I had. It started back then with Dave Seaman’s residency at Groovejet. It started off as a Cream residency, but then moved into a Bliss residency. We also produced the first ‘Renaissance America’ CD, and did all the ‘Dark Drums’ CDs for Steve Lawler. So, I mean, there’s quite a history that goes back, and it just kind of made sense to do and promote events. The hotel pool party thing kind of just happened, you know. I was doing the events at Groovejet, and then I had a club called Nerve, where we did a lot of programming for the Winter Music Conference and everything. But my family always owned The Shelborne  Hotel. And they were doing events there, but they were renting it out to sub-promoters. Pacha was renting out some days, and other promoters from New York. Eventually, it just made sense to move everything there and to take over the pool parties. We also had a nightclub in the hotel called Shine, so we were able to go until 7 AM, and then the pool party would start at 12.

It was just non-stop, but it gave us such an opportunity to program special events and really get into the scene, and it kind of allowed me to foster my own DJ career as well, quite a bit. I mean, in the early 90s, I played a lot for Renaissance and Geoff Oakes. A lot in England, a lot at all the Renaissance parties. I did all the United States parties for them, but as we started getting into the hotel stuff, I was signed as resident DJ at Pacha in Ibiza, which was amazing. They would book three to four of us maximum, so the average lineup would be like “me, Pete Tong, and Sasha“. So we would all get three to four-hour sets, even as the opening set. And it was such an experience to be able to play on that stage. And those were the nights I had. I would play with Pete Tong on Fridays, and then with Luciano and Cadenza on Sundays. And we’re talking 10/12/15 years ago now. So it was really when Ibiza was still good, not as commercial. Not as cheesy, not as expensive. So, you know, I’m happy I got to live it during those days.

“It’s a labor of love, for sure. I think my passion’s always been for the music and the DJ side of things”

EG: Do you remember your first Miami Music Week as a DJ? Has your style evolved from those days? What has your experience been like from those early days?

Jonathan Cowan: I started going out locally to some events and different things, and then going up to Orlando quite a bit to a club called Oz in the early 90s. And that really changed my life, set my life. I remember the one night that kind of did it for me. I saw Sasha and Cosmic Baby on New Year’s Day. Couldn’t even tell you what year, probably 1993. And that was it. I was hooked.

Then, when I was going to college, I ended up doing a summer abroad in Ireland, living in Dublin. And that’s where I met a lot of the people in the scene. It’s where I originally met Dave Seaman. I remember hearing  DJs that don’t play very much anymore, but it really kind of influenced me…being over there and, you know, seeing it firsthand, the scene and what it was like over there. It really kind of opened the doors for me. And I didn’t really have turntables or anything yet, but I already started buying vinyl back in Dublin. And then right when I got home, I got to the turntables and got into it.

We started doing these events with Dave Seaman, and, as you’d do back then, we would always have the after parties back at my house. And I would DJ a lot at the after parties. You know, it was actually him who really pushed me to be a DJ. We would always book opening DJs, and he’d always say, “Just stop wasting the money, you’re better than a lot of these guys”. So he started taking me around on all his gigs in the US, we started doing the Miami shows, and I started playing a bit at Groovejet. We started this residency at a club called Shadow Lounge, but after the first one, Groovejet recruited us, and the second show was actually a Winter Music Conference show. And probably one of my first as a DJ. It just snowballed. It never stopped.

25 years later or so, and we’re still doing it. So I guess it had a lasting effect. And as far as my style goes, I think starting, Sasha, Dave Seaman, Nick Warren, those guys were the guys who did it for me. The Pacha days and everything else. Luciano was a huge influence on me. He opened my horizons on music, letting me go in a bunch of different directions. I would say today, I have my progressive roots. I think the productions I’ve been doing lately have kind of shown that, but really, when you hear me play, I’m quite eclectic. I’ll play house, disco house, soulful house, and kind of go into techno. I like to use a lot of vocals, a lot of acapellas. A lot of stuff that I saw Luciano doing in those early Cadenza shows just really kind of blew my mind and changed my outlook and my style for sure.

EG: By the way, since we’re down memory lane, in which ways has Miami Music Week changed? What was it that made it so special to be a part of Miami Music Week back then?

Jonathan Cowan: I think back in the day, Miami Music Week was a different world. The music was exclusive. Now, today, with the digital era, you finish a track, and somebody around the world has it in five minutes. It’s a different world, it’s not as special. I think back then, you would come to Music Week, and you wanted to hear that track that was going to be the next phenomenal hit. You’d know you’d hear it, you’d remember it, it would stick in your mind, but then you might not see it again or hear it again for six months because only two, three guys had it. So really, it was a different world in the way it was done, and I think it was much more about hearing deals over a table late at night. It was just a different mentality. And the other thing that I think changed is that you didn’t have a digital camera or a smartphone. And I think everybody knows that it just changed clubbing so much. You used to DJ, you clap, they clap, you jump, they jump. It was like being a puppet master. Today, you’re looking at, you know, 1000 smartphones being held up. It’s strange, to be honest.

EG: Do you have any favorite Miami Music Week memory that you cherish to this day?

Jonathan Cowan: Definitely, there are so many of them going back. Carl Cox playing at Groovejet, playing for an 800-person room. We’ve had Macy Gray to bring a broader audience. I remember we had Lady Gaga years before she blew up. It was a Moonshine  Records or Nervous Records party, I’m not certain. And then she goes on to become the next Madonna. But, I think the early parties with Dave Seaman, John Digweed, Sasha, Nick Warren… those are the ones that really stuck with me.  Nick, Dave, and I would do these parties every year at The Shelborne, very informally, going back to back all night, and it was really special. Just a couple of friends enjoying music. And the early days with Luciano and Loco Dice, back-to-back, when they hadn’t come to America yet. Such a vibe, such a feeling. And I don’t think many people know this, I threw the first Music On party at The Shelborne. And it was just me and Marco Carola. To have been a part of that, it’s a special feeling.

EG: Now, looking forward, what can we expect from Jonathan Cowan in the coming months? Are there any incoming releases we should be looking out for? Where can your fans catch you next?

Jonathan Cowan: Well, I’ve got a new EP coming up on Dave Seaman and Steve Parry’s Selador, which should be out at the end of May. It’s a double tracker, with the first track called ‘Slater’ (which is named after my second son), and the second one is called ‘Sawyer’. I’m very proud of this one, so I’m very excited for its release. As I said, Dave has been instrumental in my journey as a DJ, and so, to have this out on his label feels like an honor.

With the release coming up, I will also be doing an exclusive mix for Selador, and I do have some shows in the pipeline, so stay tuned for more updates!

EG: Thank you so much for your time, Jonathan! We wish you the best of luck this Miami Music Week. Catch you on the dancefloor!

Jonathan Cowan: Thank you. It’s been a pleasure, and I hope to see you soon.

Jonathan Cowan will be celebrating   Danny Tenaglia’s 50 years behind the decks DJ Mag event on March 29, 2025,  at Miami’s  The Sagamore Hotel.  Grab your tickets here.

The post Behind the decks with Jonathan Cowan: Passion, legacy, and Miami Music Week appeared first on Electronic Groove.

Founded in 1989 by Steve Beckett, Rob Mitchell, and producer Robert Gordon, Warp emerged as something of an accident: an independent label with no fixed genre, no roadmap, and no expectation of longevity. But what it lacked in a clear-cut mission, it compensated for with an uncanny ability to detect the future. That instinct led Warp from the visceral stabs of early bleep techno to the deconstructed electronica that would define its legacy.

Warp’s first proper statement came in the form of LFO’s self-titled single—five and a half minutes of seismic bass, metallic clangs, and otherworldly synths that felt like they had been smuggled in from another dimension. It sold over 130,000 copies, a staggering number for an independent imprint. It also laid the foundation for what would become the label’s sonic philosophy: music that challenged, expanded, and occasionally obliterated the expectations of electronic sound.

With the ‘Artificial Intelligence’ series in the early ‘90s, Warp effectively rewired the circuitry of electronic music. Aphex Twin, Autechre, The Black Dog—these weren’t producers so much as architects, constructing shifting structures of melody and noise that prioritized texture over accessibility. Suddenly, electronic music wasn’t just for clubs; it was for contemplation, for isolation, for immersion. The term “intelligent dance music” (IDM) was attached, though many of its artists rejected the label. Warp didn’t need categories; it simply existed as an avant-garde current running parallel to the mainstream.

By the late ‘90s and early 2000s, Warp was no longer just a record label; it was a cultural institution. Squarepusher turned bass guitars into alien weaponry. Boards of Canada conjured soundscapes that felt like decayed VHS memories. Broadcast dismantled the past and reconstructed it through ghostly, retro-futuristic pop.

And then, just when Warp seemed to be settling into its role as electronic music’s high-art provocateur, it shifted again. The label’s embrace of left-field hip-hop, abstract rock, and undefinable hybrids led to signings like Flying Lotus, Oneohtrix Point Never, and Yves Tumor. From the shattered jazz of Jlin to the menacing glitch-pop of Kelela, Warp has continued to move where the ground is least stable.

The brand’s longevity is not a result of adapting to trends but of dissolving them entirely. Its visual identity—shaped by the elusive design house The Designers Republic—has been as iconic as its music, embedding itself into the consciousness of electronic music fans in the same way Factory Records did for post-punk. Even to this day, the label’s approach to curation remains as unpredictable as ever, releasing works that feel like cultural events rather than mere albums.

But perhaps the most striking thing about Warp is that, 35 years in, it still feels unknowable. It still feels like an outsider. Other labels have emulated its aesthetic, its meticulous curation, and its refusal to cater to the expected. But the true essence of Warp? That remains untouchable, existing in the spaces between what electronic music is and what it might become next.

To chart the future of Warp is a futile exercise. The only certainty is that it will continue to be a disruption—one that we will likely only understand in retrospect.

Follow Warp Records: Instagram | Facebook | SoundCloud | Spotify

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Photo Credit: Luke O’Brien

 Ministry of Sound has issued a statement following a large-scale break-in at its London nightclub on Wednesday, January 19th, 2025 where an unauthorized gathering caused “significant damage” to the venue.

Videos circulating on social media depict a group of people entering the club via the women’s restroom, with footage showing individuals setting off confetti cannons and spray-painting mirrors before security intervened. In one clip, an individual described the scene, writing, “There was like 100 people walking and shouting with bolt cutters and ballys on,” and claimed that it took “around two hours” for law enforcement to arrive and disperse the crowd.

In an official statement posted on Instagram, Ministry of Sound confirmed that high-value equipment was stolen during the incident. The venue has not yet disclosed the full extent of the damages or the impact on upcoming events.

Authorities have yet to release further details on the break-in or any potential arrests.

The club will open as normal tonight, with additional security measures put in place.

Check out Ministry of Sound’s official statement below.

The post Ministry of Sound victim of break-in and illegal rave appeared first on Electronic Groove.

Photo Credit: Patrice Bäumel – Official

 Influenced by the experimental grit of Andy Stott and the fractured futurism of Autechre, Bäumel approaches DJing as both an art and a science.

Now, he recently shared on social media his insights on optimizing sound quality in DJ sets—offering the kind of technical wisdom and artistic philosophy that have shaped his career.

“Judging from personal experience in the field, I feel this issue needs attention. Achieving great sound is a game of small, incremental gains in different areas that add up, especially when mixing several tracks simultaneously. Here’s what I do:”

1. Play well-produced material. This is hard to judge until you try a track on a big system back-to-back with proven bangers. Poor bass mixing and too much compression are the most common causes for failure.

2. Disable the ‘Master Tempo’ and   ‘Key Shift’  functions on CDJ players—these ruin your bass and create digital artifacts. Almost every DJ uses them, often for creative reasons, but it comes at a price.

3. WAV/AIFF files only. 320kpbs MP3 files sound as good to the untrained ear – don’t let that fool you. Subconsciously, people feel the difference.

4. Use a quality mixer. My favorites are the Pioneer DJM-V10 or boutique rotary mixers. I prefer them over Xone 96/92, DJM-900/A9, and other big brand offerings.

5. Channel and master gain levels can dip into the ‘red’ but should never stay there or, worse, clip the signal. Instead, let the front-of-house mixer add volume if needed. This prevents distortion.

6. Avoid pushing EQs beyond 0 dB (12 o’clock). Use them as subtractive tools to cut unwanted frequencies rather than boosting preferred ones.

7. Avoid channel compression (the small knob above the channel EQs) on the Pioneer DJM-V10.

8. Establish open, positive communication with the in-house sound engineer before your set. You want them to feel comfortable to communicate tips and issues. Teamwork makes the dream work.

You can keep up with Patrice Bäumel’s work and philosophy below.

Follow Patrice Bäumel:  Soundcloud  |  Facebook  |  Instagram  |  Twitter

The post Patrice Bäumel shares tips for ‘optimizing sound quality’ in DJ sets appeared first on Electronic Groove.

Opening with ‘Maca’, Horvat builds a labyrinthine soundscape where flickering synth fragments scurry in search of form, driven by a visceral, low-end pulse that cuts through the mix with surgical intent. As the track solidifies, a wistful melancholy seeps into its structure, with shadowy chords lingering just beyond reach. Then, in a moment of cybernetic rupture, it  glitches as though the machine housing its soul has momentarily short-circuited as it sets the stage for the incoming exploration. A sublime introduction to a broader picture, the cut is a gorgeous exercise in contrasts as Horvat slowly turns a bizarrely captivating prism against the light.

Next, ‘Testamona’ introduces a fresh dynamic as Horvat partners with 15-year-old prodigy Lilli Ellen for a striking collaboration. From its first notes, Ellen’s ethereal vocals glide effortlessly over a pulsating beat, setting a narcotic, dreamlike tone. Iridescent arpeggios shimmer against glassy percussive textures while neon-drenched gated chords inject a glowing vitality. Now firing on all cylinders, the creative duo work their alchemy as ‘Testamona’ contorts in breathtaking shapes, stealing looks with every twist and turn for a showstopping centerpiece.

With ‘Dunvad’, Horvat shifts into darker, more enigmatic territory. Unsettling yet irresistible, the track unfurls over writhing synth textures before anchoring itself in a thick, propulsive bassline. Disorienting and restless, the track revels in its own unpredictability, breaking apart and reassembling as eerie harmonies sweep through the composition. A sonic outlier in the EP, yet unmistakably Horvat’s, it challenges conventions while keeping the listener firmly in its grip.

Closing the record, Horvat delivers a ‘Dub Edit’ of ‘Testamona’, stripping the track of Ellen’s vocals and allowing the instrumental to bask in its own luminescence. This minimalist revision presents it in a starker, club-ready form, sharpening its contours for DJs eager to wield its hypnotic energy in peak-time sets.

With ‘Unfold’, Horvat continues to refine his distinct musical language, merging technical prowess with evocative storytelling. Each track is a carefully placed piece in a larger mosaic, proving once again that Horvat’s vision extends beyond the confines of the dancefloor into something far more cinematic and immersive.

Denis Horvat’s ‘Unfold’ EP is out now via Vokabularium. Purchase your copy here.

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