Nathan Oliver is an EDM DJ and producer from Ontario, Canada, bringing a versatile sound that moves across EDM, Bass Music, Dubstep, House, Drum & Bass, and Techno. His high-energy approach blends powerful bass, driving rhythms, and electronic intensity to create sets built for the dance floor.

Nathan has also been performing throughout Toronto, including at Airplane Mode Vol. 2 at IDK Social Bar, where he delivered a high-energy EDM set.  With a passion for underground electronic music, Nathan continues to develop his sound both behind the decks and in the studio, connecting with audiences through energetic performances and a diverse range of electronic styles.

Where are you from?

I’m currently based in Niagara Falls, Ontario, Canada. I was born in London, Ontario, and spent most of my life living in Burlington. I also lived in Toronto while studying for a music degree with a focus on Audio Production. Living in different parts of Ontario has given me exposure to different communities, environments, and music scenes. London, Burlington, Toronto, and Niagara have all contributed to who I am personally and creatively.

Is Nathan Oliver your real name?

Yes. My full real name is Nathan Oliver Emms-King. Nathan Oliver is the name I use professionally as an artist and DJ.

Why didn’t you choose an artist or DJ name?

I actually did choose a DJ name originally. I started out as DJ KANG. Over time, though, I felt that using my real name would be more meaningful for the long-term direction of my career. Nathan Oliver is who I am, and I wanted my music to feel connected to my real personality, experiences, and growth. That doesn’t mean I’ve completely moved away from creative identities. NØ-TRON is where I can explore robotic visuals, futuristic concepts, darker electronic themes, branding, and performance ideas. Nathan Oliver is the real artist behind the music, while NØ-TRON gives me another creative world to build.

How long have you been in the music scene? 

I’ve been producing music for approximately eight years and DJing for around two years. Production came first for me. I spent years learning how to create sounds, arrange songs, mix music, experiment with genres, and understand the technical side of music production. DJing came later and felt like a natural extension of producing. Because I understand how songs are constructed, I think about DJing in terms of energy, arrangement, tension, release, transitions, and how different records work together. I’m still growing and learning, but I’ve built a strong foundation through years of production experience and hands-on work behind the decks.

How would you describe the sound to someone who has never heard your music? 

I would describe my sound as high-energy, electronic, bass-driven, and versatile. My main styles include Big Room, Dubstep, Bass Music, and EDM, while I also draw influence from House, Drum & Bass, and Techno. I enjoy creating music that feels powerful and physical. I want people to feel the bass, feel the rhythm, and feel like the track is taking them somewhere. Some of my music is aggressive and built around heavy drops, while other ideas can be more melodic, atmospheric, emotional, or groove-focused. I don’t want to be trapped inside one sound or have every song feel identical. The main thing connecting everything I do is energy. Whether it’s a massive Big Room moment, a heavy Dubstep drop, a driving House groove, or a darker Techno-inspired atmosphere, I want the music to create a reaction.

Who or what were your biggest musical influences growing up? 

My biggest current electronic influences are Ray Volpe and Subtronics. I’m heavily inspired by their sound design, bass production, aggressive drops, creativity, and ability to create recognizable identities within bass music. They both show how important it is for an artist to develop their own sound instead of simply copying what everyone else is doing. When I was younger, deadmau5, Martin Garrix, and DVBBS were major influences. They helped shape my early love for electronic music and showed me how powerful melodies, atmosphere, production, live performance, and festival-scale energy could be. I’ve also been influenced by artists outside EDM, including Juice WRLD, The Weeknd, and Justin Bieber.

The Weeknd has influenced me through darker atmospheres, emotional tones, vocal production, melodies, and storytelling. Justin Bieber showed me the importance of vocal melodies, songwriting, hooks, and creating music that connects with a wide audience. Juice WRLD had an especially personal impact on me. His music helped me through some of the darkest periods of my life. His honesty, vulnerability, and ability to turn personal struggles into music reminded me that music is more than entertainment. It can help people process emotions and feel understood.

What is this letter your parents wrote to you that was posted online?

The letter is something my parents wrote to me when I was younger. I don’t want to misrepresent the exact wording, but it represents their love, support, encouragement, and belief in me. It’s a personal reminder of where I came from and the people who supported me before I seriously began pursuing music. It has emotional value because it connects my current goals to my earlier life. Before the music, performances, branding, and artist identity, there was just a person with dreams, challenges, and people who believed in him. That letter represents the foundation behind everything I’m trying to build now. 

How has it inspired you to keep pursuing your music career?

The letter reminds me that music is about more than streams, followers, bookings, money, or recognition. Those things are important when building a career, but they aren’t the entire reason I create music. The letter reminds me to stay connected to who I was before the industry became part of my life. There are times when progress feels slow or when balancing everything becomes difficult. Reading something like that reminds me that I’ve already come a long way and that I shouldn’t give up just because things aren’t happening instantly. It also reminds me that success should be meaningful. I want to build something I can genuinely be proud of, not just something that looks impressive online.

What first got you into producing electronic music? 

I became fascinated by the idea of creating an entire world through sound.I loved that I could start with nothing more than an idea and turn it into drums, basslines, synths, melodies, effects, textures, and eventually a complete song. Electronic music especially interested me because there are so few creative limits. You can create sounds that don’t naturally exist, manipulate audio in unusual ways, and build the technical sides of the process to create completely different atmospheres from one track to another. That curiosity eventually led me to study Audio Production and take music production seriously. I enjoyed learning both the creative and technical sides.

Are there any genres or artists outside of EDM that influence your style? 

Absolutely. I listen to and draw inspiration from much more than EDM. Hip-hop, rock, metal, pop, R&B, and other genres influence the way I think about rhythm, attitude, emotion, songwriting, vocal delivery, arrangement, and energy. The Weeknd influences my sense of atmosphere, darker emotional tones, melodies, vocal production, and storytelling. Justin Bieber influences my appreciation for vocal hooks, songwriting, and pop structure. Juice WRLD influences the emotional honesty and vulnerability I want to bring into my own music.

Even when I’m producing a Dubstep or Big Room track, those influences can still show up in the mood, vocal structure, arrangement, emotional direction, or overall feel. I think listening to only one genre can sometimes limit your creativity. Outside influences help make electronic music more personal and give it more depth. (UEDM 100% agrees)

Are you involved in the music scene full-time, dedicating all your time to creating and promoting your music? 

I’m not technically involved in music full-time yet, but I’m fully committed to building it into a serious career. There is much more involved than simply making songs. I have to balance production, DJ practice, set preparation, networking, social media, branding, content creation, event opportunities, promotion, and ongoing technical improvement. At the same time, I have responsibilities outside of music. I’m balancing my career, my relationship with my fiancée, Maygan, and my active involvement in caring for my stepson.

My family is extremely important to me, and I don’t want to pursue music in a way that makes me absent from the people I love. Sometimes that means working around family routines, childcare, household responsibilities, and Maygan’s schedule. It can definitely be challenging to find the balance, but it has taught me discipline and time management. I’ve learned that I may not always have unlimited hours to create, so I have to make the time I do have count. I’m building music into my life while also trying to be a supportive partner and dependable stepfather. I want to grow professionally without losing sight of the people and responsibilities that matter most to me.

I was an artist and producer first. I’ve been producing for approximately eight years and DJing for around two years. Production gave me a strong understanding of song structure, arrangement, energy, mixing, sound design, and how records are built. When I started DJing, I already understood what makes a track work musically. That helped me think beyond simply matching beats. I became interested in building a complete experience through transitions, pacing, tension, drops, and crowd energy.

I currently use a Pioneer DJ DDJ-FLX4 with rekordbox. It has been a very useful setup for developing my skills and learning the fundamentals of DJing.

The DDJ-FLX4 gives me the ability to practice important fundamentals such as beatmatching, EQing, transitions, effects, looping, cueing, and performance control. Rekordbox is especially useful because I can organize my music library, analyze tracks, prepare beatgrids, set hot cues, create playlists, and prepare music in a way that translates well to professional club equipment. I’m eventually interested in upgrading to a setup that feels more similar to professional CDJs, but I want to make sure I understand the fundamentals and can perform confidently before making that move. I believe expensive equipment is not a substitute for actually knowing how to DJ. Skill, preparation, musical knowledge, and crowd awareness matter much more than the price of the equipment.

How do you read the crowd, and what signals do you look for when deciding to switch up the music or change the BPM?  

I pay attention to the crowd’s movement, facial expressions, engagement, reactions, and overall energy. If people are moving more, responding to drops, singing along, or becoming more involved, I know the direction is working. If the room starts losing energy, I consider whether the issue is the song choice, the pacing, the BPM, or whether the set has been too intense for too long. I don’t believe every moment needs to be the heaviest possible track. A good DJ understands contrast. Sometimes pulling the energy back creates more anticipation for the next big moment. I consider BPM, musical key, energy level, genre, the time of night, and the type of crowd in front of me. The goal is to create a journey rather than simply playing one massive drop after another.

What is your musical background? 

My background is primarily in music production and Audio Production education. I studied for a music degree focused on Audio Production, which helped me learn about recording, mixing, sound design, arrangement, signal flow, and the technical side of music. I was diagnosed with autism at the age of three, and music became one of the most important ways I expressed myself and connected with the world around me. Production gave me a way to focus my creativity and turn thoughts, emotions, and ideas into something tangible. DJing came later and allowed me to share that energy with other people in a live environment.

Which music equipment and/or DAW do you prefer for music production, and what makes them your top choices? 

I primarily use FL Studio for music production. I like FL Studio because it gives me a flexible and creative workflow for building ideas, programming drums, designing bass sounds, arranging tracks, and experimenting with different production techniques. The piano roll is especially useful for creating melodies, basslines, rhythms, and detailed MIDI patterns. The workflow also makes it easy to experiment quickly, The workflow also makes it easy to experiment quickly, which is important when I’m trying to capture an idea before losing the initial inspiration. I like having access to a wide range of instruments, effects, automation, and third-party plugins. For me, the DAW should support the creative process and allow me to move from an idea to a finished track efficiently.

Do you mix and master your own songs? 

Yes, I mix my own music and handle as much of the process as I can myself. I pay close attention to EQ, dynamics, stereo width, loudness, clarity, and the interaction between the kick and bass. One of the biggest areas I focus on is making sure the low end feels powerful without becoming muddy. I also check how the track sounds on headphones, speakers, smaller systems, and different listening environments. I’m still constantly learning and improving, but I enjoy being involved in the full process. Mixing my own music helps me understand my production better and identify weaknesses in my arrangements and sound selection.

What typically sparks your creativity when making a new song? Do you find inspiration in movies, books, or listening to music?

Creativity can start from almost anywhere. Sometimes I begin with a bassline, drum pattern, synth sound, melody, vocal idea, or an unusual sound-design experiment. Other times I might be inspired by a movie, visual, live performance, another song, a particular atmosphere, or even an emotion I’m experiencing. I’m especially inspired by music that creates a world around the listener. I like tracks that feel cinematic, futuristic, dark, aggressive, emotional, or larger than life. Sometimes I’ll hear one sound and immediately imagine an entire drop around it. Other times, I’ll start with a simple melody or rhythm and let the track develop naturally

What BPM range do you prefer when producing your tracks?

It depends on the genre and the feeling I’m trying to create. For Dubstep and Bass Music, I often work around 140 BPM. Big Room and other EDM styles can vary depending on the direction of the track. House, Techno, and Drum & Bass have their own natural tempo ranges, so I don’t force every idea into the same BPM. I believe tempo should serve the track. Sometimes, slightly changing the BPM can completely change the groove, energy, or emotional impact of an idea.

How do you start a song? Do you begin with the melody, the drums, or the bassline when building a track?

I don’t follow one fixed formula. Sometimes I start with the bassline or the main drop because I want to establish the central identity of the song immediately. Other times I begin with drums, a melody, a chord progression, a vocal sample, or a synth patch that inspires the rest of the track. With bass music, I often like developing the main drop early because it gives the rest of the song a destination. Once I know what the main moment sounds like, I can build the intro, build-up, breakdown, and transitions around it.

How do you approach making kick drums and bass stand out in your songs?

The most important thing is separation and balance. The kick and bass need to work together rather than fighting for the same frequency space. I pay attention to EQ, timing, dynamics, sidechain movement, volume, and the relationship between the sub-bass and mid-bass. I also make sure the kick has enough punch and that the bass has enough weight without overwhelming the rest of the mix. A powerful low end is not simply about making everything louder. It’s about making every element have its own role and space.

What’s one production tip you wish you'd known when you first started producing music? 

I wish I had learned earlier to finish songs instead of constantly starting new ones. Starting a new idea is exciting because everything feels fresh, but finishing a complete track teaches you much more about arrangement, structure, transitions, mixing, mastering, and making creative decisions. A finished song that isn’t perfect can teach you more than hundreds of unfinished loops. You learn by completing the entire process, not just creating the first exciting eight bars.

How do you decide when a song is “finished”? 

A song is finished when it communicates the idea and energy I originally wanted it to communicate. I listen for whether the arrangement makes sense, whether the transitions work, whether the mix is clear, and whether the track still feels exciting after repeated listens. I try not to get trapped endlessly changing tiny details. There will always be something that could technically be improved, but eventually you have to recognize when the track is doing what it needs to do. At some point, finishing the song and moving forward is more valuable than endlessly chasing perfection.

I think AI can be useful as a creative tool, but I believe the artist’s own creativity, identity, emotion, and personal input should remain central. There is a difference between using technology to assist with an idea and allowing technology to completely replace the creative process. For me, music is about expression and connection. If someone uses AI for every part of the process without adding their own creativity or personality, I think something important can be lost. Technology should support the artist rather than completely replace the artist. The human experience behind the music is what gives it meaning.

There are definitely a lot of EDM artists and DJs now, but I don’t necessarily think that is a bad thing. More artists means more competition, but it also means more creativity, more sounds, more events, and more opportunities for people to discover music they connect with. The challenge is standing out. Artists need more than just the ability to make a song or play a set. They need a recognizable identity, professionalism, consistency, networking skills, and a reason for people to remember them. There may be more competition, but that also pushes artists to become better and take their careers more seriously.

Toronto has a very diverse and active EDM scene. There are communities for Dubstep, Bass Music, House, Techno, Drum & Bass, festival-style EDM, underground events, and experimental electronic music. Because I lived and studied in Toronto, I had the opportunity to experience different venues, artists, crowds, and event environments. Toronto has a lot of talent and a strong culture of people who genuinely care about electronic music. It can be competitive, but that competition can also motivate artists to improve their sound, professionalism, branding, and live performances. I’ve also had the opportunity to perform in Toronto, including at Airplane Mode Vol. 2 at IDK Social Bar, where I delivered a high-energy EDM set. Experiences like that are important because they allow me to connect with audiences and continue developing as a live performer.

Canada has incredible electronic music talent outside of Toronto. Vancouver has a strong electronic and bass music community, while Ontario has a wide range of scenes across Toronto, Hamilton, Burlington, London, Niagara, Ottawa, and other cities. I think smaller cities and communities deserve more recognition because there are many talented artists, DJs, promoters, and event organizers working hard outside the biggest markets. The internet has also made it easier for artists from smaller communities to reach listeners across Canada and internationally. You don’t necessarily have to be based in Toronto, Vancouver, or another major city to build something meaningful.

To me, underground EDM is about authenticity, creativity, experimentation, and genuinely caring about the music. It isn’t simply about playing in a small venue or having a certain number of followers. It’s about people connecting because they actually love the music and the culture around it. The underground is where artists can experiment, take risks, develop unique sounds, and build real relationships with audiences. It’s about the music being more important than appearances, popularity, or chasing trends.

Learn your craft and finish your music. Don’t spend all your time collecting plugins, watching tutorials, or starting new projects without completing anything. You need to finish songs and learn from the entire process. Practice consistently, study music you admire, and develop your own identity instead of trying to sound exactly like another artist. Also, support other artists and events. Build genuine relationships rather than only contacting people when you need a booking or favor. Be professional, reliable, patient, and consistent. The underground scene is built heavily on trust and relationships. You don’t have to become successful overnight. You just have to keep improving and continue showing up.

After reading the article "The Digital Paradox: How Music Streaming Saved the Industry but Stifled the Artist," https://www.billboard.com/pro/how-music-streaming-saved-industry-hurt-artists/ What do you think about digital streaming?

Streaming has made music incredibly accessible and has created opportunities for artists to reach audiences around the world. It is useful for discovery, distribution, exposure, and allowing fans to listen to music instantly. However, the financial side can be extremely difficult for independent artists. Many artists receive very little money from individual streams, which means streaming alone is often not enough to support a career. I think streaming should be viewed as one part of an artist’s overall strategy rather than the entire business model. Artists need to explore other income sources, including live performances, merchandise, physical releases, direct fan support, licensing, collaborations, and other creative opportunities. Streaming is powerful for reach, but reach and financial sustainability are not always the same thing.

With this in mind, many artists like myself find that selling tangible items benefits both them and their fans, especially since artists make very little from streaming.  Do you see a future for physical formats compared to digital streaming? 

Yes, absolutely. Digital streaming is convenient and will remain a major part of the music industry, but physical formats offer something different. CDs and vinyl are tangible, collectible, personal, and give fans a stronger feeling of ownership. There is something meaningful about having an actual physical copy of an artist’s work rather than only accessing it through an app. Physical releases can also help fans feel more connected to the artist and give independent musicians another way to earn money directly. I don’t think physical music will replace streaming, but I do think it will continue to exist alongside it, especially for dedicated fans, collectors, DJs, and people who want something more personal.

Underground EDM allows artists to create and sell albums as CDs directly from their profiles at no cost to them and with no inventory. https://www.undergroundedm.com/artist/15. 

What do you think about that?
I think it’s an excellent opportunity for independent artists. Selling CDs directly through an artist profile gives musicians a way to earn more directly from their work instead of relying only on streaming revenue. It also creates a stronger relationship between the artist and the fan.

A fan purchasing a CD is making a more intentional decision to support that artist. It can also make an artist’s profile feel more complete because fans can discover the music, learn about the artist, and purchase a physical product in one place. For independent musicians, having more control over how their music is sold and supported is extremely valuable. (UEDM agrees)

Do you have any plans to release your music on vinyl or CD? 

I’m definitely interested in releasing music on CD, especially through a platform that allows me to sell directly to listeners and supporters. (Currently being sold at UEDM) Vinyl is something I would consider in the future as well. It depends on the right release, production costs, demand, and whether it makes sense for the project. I like the idea of having physical versions of my music that people can collect and keep. It makes the release feel more permanent and personal.

What can people expect from you over the next year? Over the next year, people can expect more original music, more DJ performances, more content, continued development as a producer and performer, and more opportunities to connect with audiences. I’m focused on improving my production, building stronger DJ sets, releasing more music, expanding my performance experience, and developing my identity as an independent electronic artist. I’m also developing NØ-TRON, my futuristic robotic alter ego.

That project will involve music, visuals, branding, artwork, performance concepts, and a more futuristic identity. I want to create something that feels like more than just a DJ name. I want the music, visuals, branding, and live experience to feel connected. I’m also continuing to balance music with my personal life, my relationship with Maygan, and being involved in caring for my stepson. My goal is to keep growing professionally while still being present for my family.

The project combines combat-sports energy, entertainment, music, and a different type of live environment than a traditional nightclub or festival. Performing there is unique because the DJ is not simply playing music in the background. The music helps create atmosphere, excitement, intensity, and momentum around the event. It’s a different performance environment that combines multiple forms of entertainment, and I enjoy being part of projects that create something outside the usual club setting.

I would recommend “Better Than Me.” I think it gives people a good introduction to my original music and represents the producer side of what I’m building. It gives listeners a sense of my sound, energy, personality, and direction as an artist. It’s a good starting point for someone who wants to understand what Nathan Oliver sounds like beyond just hearing me DJ.

My main artist profile is on Underground EDM: Nathan Oliver’s Underground EDM Artist Profile. That is the best place to find my artist information, music, releases, and updates. People can also follow me on Instagram: Nathan Oliver on Instagram. My main music platform right now is SoundCloud, with YouTube also being an important place where people can find my content and mixes.

My three choices would be:

Ray Volpe and Subtronics would bring the modern bass-music intensity, aggressive sound design, heavy drops, and high-energy performance. deadmau5 would bring the atmospheric, melodic, progressive, and foundational electronic influence that helped shape my love for electronic music in the first place. That lineup would represent both where electronic music has come from for me and where my current sound is heading.

I want to thank everyone who has supported me, listened to my music, attended my sets, shared my content, encouraged me, or simply taken the time to follow my journey. I’ve spent approximately eight years producing music and around two years DJing, and I’m still building. I know there is still a lot to learn, but I’m proud of the progress I’ve made and excited about where things can go. Being diagnosed with autism at age three has been part of my life story, but music has always been one of the ways I express myself, connect with people, and work through difficult experiences. I’m also learning how to balance my music ambitions with my responsibilities at home, including my relationship with my fiancée, Maygan, and being involved in raising and caring for my stepson. My family is a major part of my life. I want to build a successful music career while still being present, supportive, and dependable for the people I love. My goal is to create music that gives people energy, emotion, escape, and something meaningful to connect with. This is only the beginning.

Artist Identity:

Nathan Oliver is the main artist and DJ identity, while NØ-TRON is a futuristic robotic alter ego being developed through music, visuals, branding, and live performance

https://www.undergroundedm.com/norcal-edm-news

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