GT hasn’t lost his Electrifyin’ Mojo

As one of Australia’s most successful electronic and dance music producers and DJs, the anticipation for GT’s new album, Electrifyin’ Mojo, has been rather large to say the least. After whetting the appetites of the thriving masses with a number of dancefloor friendly singles, he’s getting ready to take the show on the road. Get ready to forget anything you thought you knew about GT, no more Hair samples about letting the sunshine in or reminders about another one coming (down the mountain?)

Electrifyin’ Mojo was originally planned for an August release, why the delay?

I’m really the wrong person to ask! All I know is that when you’re on a major label you’ve got to fit in with schedules and timelines…

Did you feel any pressure following up one the success of Roadkill?

Not really, I knew whatever I did was going to blow my previous efforts out of the water because I was working with Andy Page! What I learnt from the last album was that if you’re messing around doing one off singles and 12” it can be gone after six months, but if it’s on an album you have to live with it for a very, very long time. I was very conscious of that, so I had to make something I was really proud of. I’ve got to take this record around the world, so I don’t want someone to say ‘Ohh, you’re like an Australian version of Blah’.

How do you think working with Andy Page affected the sound of Electrifyin’ Mojo?

It’s a lot more concise and consistent. With Roadkill, sonically I basically did the whole album myself with some guys coming along at the end to tidy up the mix, but with this album I was able to look at the overall big picture with Andy being able to concentrate on the details. That’s what I really learnt from Andy, was how to make the whole thing flow from beginning to end. Musically, working with Page was an absolute mind-fuck! His knowledge is unbelievable.

What has the response been like to the new material so far?

I don’t really read reviews, so I’m not sure what the critics say. A lot of people have been turning up at my DJ shows, so I’m hoping that says something. None of the tracks have gone Top 10, but that’s neither here nor there. Like I said before I wanted to make something I was proud of. Tracks like Kid Dynamite are still doing huge things on the dancefloor, I wanted that the be a single last January so I think I may have finally convinced the label that it has the potential to be a single!

All of the vocalists on the album are locals, was this a concerted decision made on your behalf or merely a coincidence?

I really wanted to be able to work with people in the studio, for it to be a collaborative effort. On the last album you’d send bits of music off and they’d send vocals back on them, and while sometimes you might get a really good result, it was sometimes not what we’d really wanted.

After the success of the Dark Alley (Phil K and Ivan Gough) mix of Love Song, who do you have lined up for remix duties on future singles?

I feel that I’ve pretty well exhausted my favorite remixers on the singles so far! But there are a few others, I’d really like to get Jesse (Kid Kenobi) to do a remix of something. I think we’ve got Cass from Fire Recordings, we’ve been talking for months and months about doing a remix, so it’s just a matter of locking down which particular song. And I’d let Nubreed do any of my tracks any day of the week!

How do you think your experience as a DJ has affected your productions?

I think DJing definitely teaches you about arrangement and song structure. In terms of making music in the studio, you tend to know what sounds work on the dancefloor and what doesn’t. I don’t really know how that works the other way. Everything I know comes from DJing, it’s the basis for everything that I’ve done, and I tend to look at everything first from a dancefloor point of view when producing.

For Roadkill you put together a full band for tour, what do you have planned for the upcoming tour?

It’s going to be DJ based. The lineup is myself on decks, MC Tim from Adelaide (who I’ve worked with for 10 years), and a female singer as well. We’ve also got a visual artist and these huge screens with images to go with tracks off the album, so it’s all going to be pretty cool, I’m really excited about it! The thing that’s taking time is getting the visual element together. While the last album lent itself to a ‘band’ vibe, that was then and this is now, I don’t feel like to doing that anymore. I am a DJ first and foremost, so I wanted to base my show more around that. I think the danger with some primarily studio based artists like myself, is when you try to put a band together for live shows you can become not heavy enough for ‘band’ people, and too heavy for ‘dance’ people, and you end up in this weird nowhere land. There are very few people in this world who can bridge that gap, and I don’t really think I’m one of them, so I’d rather base it around what I’m best at, and that’s playing records.

And lastly… in the Electrifyin’ Mojo liner notes you have a thankyou to Damon Albarn (of Blur and the Gorillaz) with a big NOT right after it. What’s the deal?

He’s a tool basically! I did a remix for the Gorillaz, and I think it was the best thing I’ve ever done. He had to approve it, and basically he didn’t like it!

Electrifyin’ Mojo is out now on Virgin.

Launch tour dates:

Sydney – home nightclub’s 4th birthday, Saturday November 16, along with Pnau, Nubreed and Love[Tattoo].

Brisbane – Night 1 of the Advent*jah Festival, Friday November 29 @ The Arena