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Fast Money Music is a solo project by Nick Hinman, an American-born, London-based artist peddling what he calls ‘tough nostalgia – bittersweet pop threaded with jagged post-punk edges, new-wave immediacy, and art-pop curiosity’. I had the pleasure of briefly interviewing Nick, asking him ten questions to gain an insight into his work as Fast Money Music.

You wear your 70s/80s influences on your sleeve, but what are some modern bands that have been influencing your songwriting?

I do tend to look backward when I’m writing. I can get lost in the past, and I definitely suffer from anemoia sometimes. But there’s a lot of great music being made right now. My friend Seb, who I grew up with in the Bay Area, started Viagra Boys. They’re always putting out wild, clever stuff, and they’re incredible live. James Murphy is another one too; he’s a modern reference point for how to blend synthetic and organic. THUS LOVE’s Memorial is great as well. My friend opened for them at the Sebright Arms and I was really impressed. I try to keep an open ear for what’s happening around London, because there’s constantly a wave of new artists and bands coming through. It’s hard not to be inspired.

What parts of London inspire you most?

My studio is in Dalston, so I spend a lot of time wandering around East London. There’s never a dull moment in Gillett Square, that’s for sure. I bought a Vespa two years ago and it’s completely opened up the city for me. It makes it so easy to get across town. London is such a sprawl, sometimes it’s hard to get out of your little village on a whim, but I’m always inspired when I do. Luckily, you don’t have to go far to find green space. Epping Forest and Hampstead Heath are two of my go-tos. I’m always up for a pensive wander through those bad boys.

When writing songs, what do you start with? A sound, a theme, a lyric?

It really depends on the day. Sometimes a lyric sparks a melody, other times it’s the other way around. I might start with a rhythm or a tone that suggests a mood, and then build a world around it. Writing on piano feels completely different than writing on guitar or bass. Each one pulls something new out of me. I’ve got a bit of a jack-of-all-trades energy (master of none), which keeps things fluid. If I hit a wall in one direction, I can usually pivot to another instrument and find a way through.

Which song should new listeners start with to get into the Fast Money Music discography?

I’d say start at the beginning with the Strange Moments EP. The song ‘Probably Finally’ is still one of my favourites. It embodies a lot of what Fast Money Music is all about. It’s honest and authentic, with just a pinch of controlled chaos. 

Which gig’s crowd surprised you the most?

When we played Supersonic in Paris for their They’re Gonna Be Big showcase last December, the crowd completely blew me away. It was such a mix of people, all packed into this sweaty little venue on a Saturday night, and everyone was buzzing. The line went all the way down the block in the pouring rain, which still feels surreal to me. It was a wild night!

If you had to cover any song and put a Fast Money Music spin on it, which would you choose?

The Fast Money Music song ‘Polar Bear’ is actually a cover of ‘Eisbär’ by Grauzone, which has always been one of my favorites. A lot of people don’t realize it’s a cover, or they don’t know the original, which I kind of love. It ended up feeling like my own take on a classic. It’s also one of the most fun and high-energy moments in the live set, so definitely worth checking out the original (or the cover) if you haven’t heard it.

What is the earliest memory you have of music?

My mom bought a baby grand piano when she was still pregnant with me, and it’s been in every house we’ve lived in since. Some of my earliest memories are of being propped up against it, bashing out a very rough version of “Chopsticks.” I started with piano lessons and eventually moved to drums, but that first connection to the piano gave me a foundation that’s still part of how I approach music now.

You have a new LP in the works – could you tell us what direction you’ve taken it in?

When I first met with Mikko [Gordon] to talk about producing the album, we listened through my demos and built a sort of language around the ideas that inspired me. Some of the key words were interesting juxtapositions like human and machine, synthetic and organic, future and past. We landed on the phrase ‘tough nostalgia’ as the main theme to anchor the record. There’s a sense of familiarity throughout it, but also an urgency that feels modern and real.

What is your favourite track so far from the upcoming LP?

That’s a tough one, but one of my favourites is a collaboration with Oliver Marson called ‘Nevermind’. We made it in about two hours. It just fell into place and wrote itself, which is always a good sign. It has this playful, irreverent energy and sense of spontaneity that really captures the best of both of us. Plus, we all love a song about rejection. 

And finally, what is your main aim – awards, sales, creativity, fulfilment?

Creativity and sustainability are the main goals for me. I just want to keep making art that feels authentic and true to where I’m at, and there’s a catharsis of letting go of songs and releasing them out into the wild. I can’t control what connects with people or how they’ll respond, and that’s part of the beauty of it. If I can keep building this world, performing it, and actually live off it, that’s more than enough.

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