Nick Thayer’s approach to music is much like his approach to cooking: Throw all the bits in together and see what happens. If you go back far enough, you’ll find Nick playing in funk-rock bands, before deciding that records were easier to deal with than drummers, and hence the move into DJing. This was accompanied by a move into production, and a contract soon followed with Sydney label Breaking Point. With a debut release ‘Theme One’ selling out and finding itself on a MOS compilation, and the follow-ups ‘Fuckin the Groove’ and ‘Ante Up’ doing just as well, things aren’t slowing down. His next release ‘Clap Ya Hands’ already appears on the official Mercedes Australian Fashion week CD. Nick’s tunes, like his DJ sets are bound by one element. Funk.
What turned you into the DJ/Producer you are today? When and where did the interest first grab a hold of you?
I’ve always been into music, though whether it was ‘good’ music is debatable. I played guitar in a bunch of pretentious funk-rock bands until one day I realized that turntables and vinyl are much easier to deal with than lead singers and drummers. Funnily enough I’m now working on tunes with singers and again drummers, though in an entirely different manner, thank goodness.
Do you ever think back to the days of playing at the International Lounge Bar in the city? If so, what sticks out?
How can I forget those days! Meeting this dude Obliveus was a high point obviously, but aside from that, it was back there that I really worked out what the hell I was doing. Prior to that I didn’t really have a clue.
What are you up to nowadays in terms of residencies and gigs?
I run a Wednesday night at Honktonks called ‘Pick Up the Pieces’ where I get quality DJs to come and play quality music. People get too caught up in genres and tempos these days. I also play every Saturday at The Late Show alongside Ransom, Lynt, Paz & Raph Boogie. It is an awesome experience being part of that night. I also play Lesson One at Croft Institute every Saturday, which is a whole B-Boy funk thing, then I play here and there around on other days. I also have some monthly interstate residencies.
I remember the first CD’s you used to give me back in the day of your music. Back then I thought it was raw, but good. The music you’re producing nowadays is without a doubt some of the best breaks around in my opinion. Tell me how the relationship with Breaking Point came about and any new releases you have on the horizon.
Firstly, thank you! The whole Breaking Point thing happened exactly like I always imagined these things do. I sent them some music. They were kinda into it. I sent them some more. They were kinda into that. I sent them more, and eventually wore down their resistance I think. Anyways, we’re locked together for a long time to come now. The Next three 12”s from me are all finished. One half of the next one ‘Clap Ya Hands’ is on the Mercedes Fashion Week CD at the moment. I’m aiming to have an album done by the end of the year. Plus we’re starting up a Breaking Point Remixes label too. In terms of other stuff, I’ve just finished a remix of Purple Funky Monkey for the Aus release of the JDS album, and the ink is now dry on the contracts for the Drumattic Twins ‘Feelin Kinda Strange’ remix I did with Bass Kleph, which will be out on Finger Lickin (complete with the dope FLR artwork) in a couple of months now.
Where do you want to be in 3 years in terms of both production and DJ’ing?
If I was still playing the nights I’m playing now in three years I would be so proud. As far as production goes, I just want to keep putting out music that I’m into. Keep pushing myself, you know. All the usual clichés. Either that or writing one tune a month for the next pop-starlet and then feeling bad about having sold out whilst mackin around in my new E-Type Jag.
Care to enlighten us all to what went down with your most notable residency in Melbourne, Out of Order? It was here for years, then gone almost overnight. What happened?
I never actually got to the bottom of it. I followed a paper trail which led through a seal colony, two missing trucks carrying Heinz baked beans, and an illegitimate panda bear called ‘Dudley’.
You’ve always got a lot of work out of state. Where do you tend to get to on a regular basis?
I play in Sydney a couple of times a month at the moment, which I love. I play for Fuzzy and for Blowpop up there. Somehow I played Fuzzy’s big party ‘Summer Break’ at the Bondi pavilion on Boxing Day. It was massive! I played in Brisbane a couple of weeks ago, Wollongong last weekend. That sort of thing. My wife travels heaps so I go and visit her and bribe people to let me play records whilst I’m there.
Your most memorable experience behind the decks would be?
5 hrs at Blowpop in Bristol, UK. I was hanging onto the cross fader in some sort of an attempt to not fall over. Didn’t work. Then I got super lost in the club after it shut and ran around yelling at John Stapleton & Jules from Stereo 8 about which room of the club was ‘upstairs’. I know only some of that was behind the decks, but apparently those guys tell that story to everyone who comes through Bristol. I was too fast for my reputation that time, but its way ahead of me now.
All time favorite gig?
Nearly 5 years ago when I went back to my hometown, London, I dropped off my bags and went straight to Fabric. In one room was Ugly Duckling, UNKLE live then Plumps, and another was Zinc, Hype, MC Rage. That was when I KNEW I should put my head down and get serious about this music thing. It was awesome.
So how does it feel to have joined the dark side of marriage?
UNBELIEVABLE!!!! Best thing I’ve ever done.
You can catch Nick at Pick up the pieces @ Honkytonks every Wednesday night, and on Saturday’s at the Croft Institute and the Late Show @ Revolver.
