We ask the question which has been challenging people for centuries. Who would win in a fight – Marina and the Diamonds or Katy Perry? We ask Marina that question, along with a serious conversation about her outstanding success in North America, and the divide between the UK and North American music scenes.

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Jamie Lidell has released yet another genre-bending album, but it sounds a little rougher this time around. Perhaps that can be partially attributed to Beck, who, after collaborating with Jamie for his Record Club project (google it!), encouraged and helped produce his latest LP “Compass”. Jamie discussed embracing sonic rawness, and spoke to us about some of the other allstars that helped with this latest record.

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With the touch of a button, Nicolas Dresti delivers a shot of adrenaline to the sea of 30 thousand fans. Their screams are met with his quick rhythmic jumping and head bobbing to the beat on-stage. He’s not the main event, heck he’s not even a co-headliner, but he’s still the man orchestrating one of the hottest concerts on the planet – all from a laptop. This may be Lady Gaga’s party, but DJ Space Cowboy is the event’s power source – the battery that keeps the beat alive.

He’s now on top of the world.

On that night Dresti was the European energizer bunny, but now he’s recharging his own batteries at his hotel. It’s hard to believe that he is the key to Lady Gaga’s live performance successes. The man in the neatly-cut dark-suit and sparkling rhinestone skinny-tie seems sophisticated and quiet – the complete opposite of what a Gaga concert is notorious for.

But it’s true. Look at Dresti and his alter ego DJ Space Cowboy like you would Clark Kent and Superman – they’re both the same person, yet totally different at the same time. Put Clark Kent into a phone booth and he’ll become Superman. Well, put Dresti in front of an audio mixer and laptop, and he’ll suddenly transform into the backbone – or backbeat, if you will – as DJ Space Cowboy, Gaga’s DJ and head maestro responsible for explosive energy in any crowd.

His new album Digital Rockstar dropped earlier this week, and it’s one of the rare chances to really hear Superman-like energy harnessed into one CD.

“Raising the energy bar is one my main jobs as a DJ,” Dresti tells andPOP in the martini bar of Toronto’s Pantages Hotel.

Understand though, that he will do it any way possible. This is a man whose sole belief and line of work is to find the party factor in all depths of music. That’s basically the narrowed down version of his job.

“I prefer to do it with the Pop, Rock, Hip/Hop approach, but basically anything to get that killer reaction from an audience. Nothing beats spinning a song, and seeing a crowd go nuts. Nothing.”

Released by Cherrytree Records, the fourth studio project marks Dresti’s first album output with an American record label – a personal milestone for the Paris-born Disc Jockey. On that note, Dresti recalls how much the American DJ scene has evolved over the last few years. “There wasn’t much house music,” says Dresti in a refreshing British accent. “That was the big difference between here and back home.”

Before he got here, Dresti was busy amping up crowds in London’s underground club scene. There, he was a U.K. DJ extraordinaire – the protégé of British DJ legend Fatboy Slim.

But listing his accomplishments is of little interest to him. “Home is home. I was always musically inclined.”

He’s the kind of guy who refuses to mention that his passion led to a handful of singles, which flooded the charts in both the U.K. and the U.S. It was following the remix of Fergie’s Glamorous, which took the No. 2 spot on the U.S. Billboard Hot Dance Airplay Chart in 2007, that Dresti released Digital Rock (2007) – his third and most valuable released album to-date.

“I was just trying to show the whole aspect of being a DJ and a rock-star at the same time,” explains Dresti about the term Digital Rock.

“Then, when I combined it with technology, guitars and synthesizers, it just all turned into this Digital Rock age which was a pretty important stage in my life.”

The album is the reason why he was presented with a signing deal to U.S. label Cherrytree Records – an Interscope Records imprint, which focuses on new artists – and the ergo-step to eventually meeting an up-and-coming artist from New York, who was also signed with the label, by the name of Lady Gaga.

“The label said I should meet with this girl, listen to her songs,” says Dresti.

He even recalls their first conversation.

“We actually spoke on New Years Eve. I was in London and she was in Los Angeles, and we just began talking about all our experiences

“We got along so well right away.”

You could say the two were speaking the same language, with conversation topics including sequins, disco balls, Prince, David Bowie and body paint. The U.K. man then flew to L.A. to help Gaga record the single Starstruck – which featured Flo Rida – on her debut album The Fame (2008).

“After we got to know each other better, she invited me to come on tour with her,” says Dresti.

And so he began mastering the sound beds for Gaga’s Fame Ball Tour, which kicked off last March. At that point, Dresti had already had years of experience fueling parties to know the true meaning of peak energy.

Or so he thought.

While working with Gaga, the DJ – who had previously worked and remixed with a variety of iconic artists from The Darkness to Sir Paul McCartney – witnessed energy being set to a new level.

“A unique thing about her,” begins Dresti, “is that whether you’re playing in a stairwell or a stadium, it always has to be the same energy. There’s no excuse, she’ll do whatever it takes. She’ll come to me five minutes before we go on stage and tell me she wants to switch this song in the set, and cut that verse out, and add this in…

“It’s enough to make you go crazy, but in a good way. She always sets the standards high.”

As the audiences grew bigger for each passing show, Dresti came to realize that he was on the most colossal tour of the year. Cities were being booked for two-a-night performances due to the high demand for tickets. The DJ found that with the rising popularity of the tour, so did his pressure to get more creative behind the laptop.

“I definitely had to sit down and start putting together some new sounds,” recalls Dresti. “For example, she (Gaga) would ask me for a song to dance to for two minutes on stage to represent something sad. So I would then try to incorporate other instruments like an organ or violin to find the right sound. Stuff like that.”

And when time would allow it while on the tour bus, Dresti would work on his own passion project, Digital Rockstar. He says it’s taken around a year to complete, and he can’t wait for it to hit the shelves. Shining brightly are songs like I Came 2 Party featuring Cinema Bizarre, Falling Down featuring Chelsea Korka from The Paradisco Girls and then a remixed version featuring LMFAO.

Simply put, it’s dance meets rock, meets party like a digital rockstar.

“Definitely a lot of work,” he says after a deep breath, smirking as he looks back on the experience. “I’m glad that’s finally all put together; looking forward to the reception.

“But then again, I’m also so glad that I got those artists to help me out.”

He seems a bit tired; maybe from the performance in Vegas the night before, or the North American solo tour that he’s been doing since the end of July. Luckily he now has a month break before the real fun begins.

There might not be a more perfect situation for his post-release promo-trip: LMFAO’s Party Rock Tour – 31 shows squeezed into a month and a half on the road from November 5 until December 20. A bunch of artists jumping up and down on stage, singing about partying, drinking and having a good time. It’s Dresti’s utopia.

“That truly, is going to be really exciting,” says the DJ who will be joined by the Far East Movement, Shwayze and the Paradiso Girls. “I love those guys and their work. A lot of DJs opt to play stuff by David Geutta or Black Eye Peas’ I Got A Feeling. It’s pretty big right now, but I like spinning with LMFAO a lot.”

Ideally he would love to work with David Bowie or even Kings of Leon, but as he gets up, he readjusts his rhinestone tie and parts with some insight. “I don’t always believe in going with the No. 1 charted song. That’s too easy.  Sometimes in order to get a crazy reaction, you’ve got to dig deep and pull off something unique. You’ve got to find a song that not everyone would really expect, but then show them the party factor.”

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Read more at andPOP. andPOP - POP Culture with Substance