Paul Nolan has emerged from humble and non - musical roots to become an up and coming talent in the varying fields of music and audio design.

Paul's first musical calling cards were the heavy sounds of early 90's rave and hardcore: The impressionable young Paul, being fed mixtapes by his sister, a frequent face at illegal warehouse raves, was hooked early on, and followed a logical progression from his early teens listening to early Prodigy, through the hardcore of DJ Si, Slipmatt, Ratty and Carl Cox, to a watershed moment in his musical awakening - hearing the trance being played by Paul Oakenfold in the Courtyard at Cream in 1998.

This changed his perception of music, the power it held over people, and he realised its ability to unite people. Those early days at Cream were among the first places that a socially awkward young man felt like he truly belonged in.

Such was Paul's voracity for knowledge as to how this music was sequenced and those who sequence it, he had already, with the help of a school friend, been making his first forays into DJing, and he was to pick up the fundamental skills extremely quickly.

Oddly for someone becoming obsessed with electronic music, Paul had started DJing before he started attending clubs. As the years progressed, Paul fell head over heels in love with all forms of electronic music, and progressed to DJing local nights in his native Liverpool, such as the legendary Alderaan, alongisde local legends Steve Parry & Mike Owen, and a slew of other guests, including James Zabiela.

Through his infamous record store, Phase Records, Paul began to DJ more frequently, troubling the bills of nights UK wide and further afield, taking in dates in Berlin and Miami as well as bills closer to home in London, Manchester and Southampton, taking his place alongside DJs such as Mark Farina, Luke Solomon, Graeme Park, DJ Sneak, Dj Heather, Phil Weeks, Nic Fanciulli, Yousef and Demi (SOS).

However, sensing that he was at the natural limit of what he could achieve, Paul moved onto pastures new, undertaking an Audio Engineering Diploma at SAE in 2006, with the idea of merely getting into music production to augment his DJing.

What actually happened was that Paul found his true calling - the other passion in Paul's life, film, and the music written specifically for it. His horizons opened up, encompassing many other styles of music, and specifically post production sound for the moving image.

Paul is still at SAE to this today, staying on to teach the very qualification he received, as well as generating significant amount of freelance work within the music and film industries, working on projects as varied as recording footsteps and doorslams, to scoring elaborate orchestral music for horror films.

Paul is equally comfotable in a number of roles, be it engineer, producer, sound designer, foley artist, or in his primary function as a music composer. A flexible, multi-disciplinary audio expert, with a passion for all creative media, Paul's work schedule now sees him regularly pitching up in Los Angeles, building a reputation at the highest alter of film sound and music.

Watch this space... Paul Nolan is one to watch...