Groove Terminator: Mastering old and new

King collaborator Groove Terminator has had one busy year. Be it reuniting with Sam La More under Tonite Only, or getting ready to release the new album for Jump Jump Dance Dance – his dance rock outfit with Chris Carter – all systems are go. Heading back to Australia for New Years and a spot at Ministry Of Sound Classics in Sydney, GT takes time out from his home in L.A to chat with inthemix.

You’re playing on New Years Day for the Ministry of Sounds Classics event. What in your definition makes a song a classic?

I think it doesn’t have to be an absolute anthem like a super hit or anything, but obviously that helps. Generally it’s one that you can return to after it has had its run and it still sounds amazing and the crowd still really responds to it.

We’ve just come out of the tail end of this electro period and some of the earlier tracks still sound amazing, even though production wise they’re a little dated now. They’re still amazing because they define the genre and that makes them a classic.

What can we expect to hear in your set?

Whatever anyone else hasn’t played [laughs]. We just got the set times yesterday. I guess I tend to have the luxury of having almost every single track I’ve played in the past twenty years at my disposal at any one time. It’s pretty much whatever is working; I hate to be a year Nazi or period Nazi about it.

I won’t go in and say I’m just going to play Subliminal Records for two hours or I’m just going to play Mylo remixes for an hour. I guess I’m fortunate that Tonite Only remixes and tunes are considered classics now, we’ve just edged in there, so I guess we’ll play a lot of that stuff. It’s a really favourite period of music for me – 2006 – and it’s probably the most recent stuff I can get away with.

What kind of records did you listen to growing up? Are many of them what you would consider a classic now?

Absolutely, I’m very, very old so we’re talking a long time ago. The first big period of house music with Todd Terry and The Jungle Brothers, were really, really big records for me. When I was first DJing in clubs they were the sort of records I was playing. That was the first big rush of house music in clubs.

Before that it was all very much Top 40, European clubs or the alternative clubs with The Smiths and The Cure. Then house music came along and tore everyone a new one – and I was part of that wave and it was great. All that music stays really strong and inspirational for me.

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