Melbourne DJ Nick Thayer knows a thing or two about crowd appeal. As a hip producer and organiser of one of Melbourne’s ‘premier breaks nights’, he’s thrown his support behind lots of local and overseas talent. Now Nick is primed to acquire a following of his own with his upcoming 12”, to be released on the brand-spanking-new Breaking Point label.
With commendation from locals like Kid Kenobi, a string of recent gigs and a forthcoming 12” release, you’re tipped as a new rising star on the Aussie breaks scene. How have you enjoyed the process?
A new rising star, eh? Well, that’s the first I’ve heard of it. However, I have been in the scene for quite a while, and loved every minute of it, to tell the truth. It is hard work, but then I’d much prefer that than suddenly being thrust into the spotlight. Guys like Kenobi and the overseas guys like Friendly and Soul of Man have all been incredibly supportive, which has been great.
As a Melbourne-based artist, what prompted you to sign onto a Sydney label?
I got put onto it through a good mate of mine, Bass Kleph. In my mind, he and I are the only guys who are writing the sort of upfront breaks stuff that we do in Australia, hence it made sense to have a common home, as it makes collaborations easier. More to the point, I was impressed by the studios and guys like Mako and Martin. Then they got me drunk. I thought I was signing for another drink.
‘Theme One’ is not only your debut release; it’s the launch for the Breaking Point label, the new breaks/electro offshoot of Floating Point Music. As their pioneering breaks artist, do you feel like the pressure’s on to get a good response?
You make it sound like a mountain climbing expedition! I think it makes a good starting point. The remixes are done by the label’s other two mainstays, Bass Kleph and Mako, so really it’s a showcase of the sort of sounds you can expect to follow.
Mako is usually associated with house music. Is your new music heavily influenced by that type of sound?
A lot has been made recently of a throwaway term I used called ‘straight-beat’. It’s a term coined by a friend to describe that house/breaks hybrid sound that’s getting lots of airplay at the moment. To be honest, I never really listen to house. My inclination towards the sound comes from old disco records and the like.
You’ve travelled extensively around Australia, playing in a number of different venues – from small bars in Brisbane to the Melbourne Big Day Out. What’s your preferred type of venue to play in?
I think club music should be played in clubs. The best sets are when you get to play for three hours to a packed club. Not that I’m against things like Big Day Out; that was an amazing experience. I just feel that too much is made these days of big events. Big parties take the sound away from its roots. I remember going out as a kid – the vibe when you stepped into the club was amazing. That’s getting lost at the moment.
There’s a lot of rivalry here in Australia about which state has got the strongest hip-hop/breaks scene. So, come on, who really rocks the house?
In the words of Gandalf, “You must unite or you will fall”. Rivalries and pedantry. Get it together, people!
As resident and co-host of Melbourne breaks night Out of Order, you’ve seen and worked alongside a lot of talented DJs. Who are some people you’d be keen to have back?
John Stapleton played one of the best sets I’ve heard in a long time. I’d love to see him play again. Kenobi rocks it every time too.
What was the last gig you paid to go and see? Was it worth it?
The last gig I paid for was to see local rock band The Pictures. I paid $10 and I got my money’s worth from the first song. I also paid $50 to see Rock Steady Crew, which was a let down.
You’ve got a reputation for being a bit of an active performer behind the decks. How important is showmanship to DJing?
I don’t really consider it showmanship as such. I just love to get into the music. There’s nothing worse than apathetic DJs who play head-down, stony-faced. We’ve got the greatest job. Whoever heard of getting paid to play records? I like interacting with the crowd. If they see you’re into the music, it sets them at ease, and they get more into it too.
Apart from making your own tracks, you’ve also produced tracks for Bionikworld. What are some of the things you enjoy about producing other people’s music?
Remixing is great, in that you have the main parts of a tune ready to go. Finding a hook to hang a tune on can be tricky, so when it’s presented to you, it makes the whole thing easier. You then get to take the hook in a totally different direction, coming up with ideas that wouldn’t have come, writing by yourself.
Speaking of collaborations, I’ve heard you’ve done work with the English National Ballet. How did that come about?
A friend of mine, Daniel Jones, is one of the soloists for the company. He had this idea for a piece that combined breakdancing and classical ballet, to open up dance to a wider audience. I’ve always loved the ballet (my fiancée is in the Australian Ballet), so I jumped at the opportunity to get involved.
Is there a track you can’t stop playing at the moment?
I can’t get enough of the Plumps’ remix of ‘Push Up’. Dancefloor killer! And the new Black Grass stuff too. Obviously ‘Theme One’ never leaves my bag either (shameless self-promotion).
Now that the launch of your single has officially wrapped up, will you be taking some time off?
No way! We’ve pretty much wrapped up production on the follow-up 12” and then there’s a whole heap of remixes piling up. Not to mention my other love of actually stepping up behind the decks to promote these things. I don’t think I’ll be getting any time off until next year, when I get married. They have to give me time off then, right?
‘Theme One’ is released March 29th. You can catch Nick each week at Out of Order (Fridays) and Lesson One (Saturdays) in Melbourne. Also coming up:
March 26th – Price Cuts EP Launch, Melbourne
March 27th – Blowpop @ Shark Bar w/ Bass Kleph, Sydney
March 27th – Kink @ Arthouse, Sydney
April 2nd – Bustin @ Hotel Illawarra w/ Bass Kleph, Wollongong
April 9th – 33 1/3 Easter Break @ Espy, Melbourne
And if you’re in Sydney, be sure to tune in to inthemix’s radio show on FBi Saturday March 27, as Nick will be in the studio for a 1 hour DJ set live to air.
