Nestled neatly between brothels and bars in Sydney's seedy Kings Cross is GT's recording studio. The artist formerly known as Groove Terminator (also known as Simon Lewicki) spends most of his time here, hunched over in front of a panel of blinking controls and a bank of powerful speakers. The studio sits just under the gaudy Coca-Cola sign, and although it's a stiflingly hot day outside, the studio temperature is even and cool. "The air conditioning was the second thing I installed in here," says GT. What was the first? "Themini bar."

Since the release of Roadkill, his debut album in early 2000, no one can accuse GT of taking it easy. After promoting the album for 12 months and taking a couple of months off to figure out how the next album was going to sound, GT went straight back into the studio for the better part of a year. Teaming up with talented young producer Andy Page, GT set out to create an album that was much more diverse than the first album. "Most of the [Roadkill] tracks were knocked up in four or five hours. Thistime around, [it's] similar attitude, but it sounds a lot more organic."

The result is Electrifyin' Mojo, an album that owes its name to a 70s Detroit DJ much respected by GT, and comes complete with a heavy aural landscape that only time can create. "The first album only really had one layer," GT admits. "The more you listen to this album, the more references you might get. There's references to Madonna, Frankie Goes to Hollywood, little things like that."

The first single from the album was a reworking of a PiL classic, Love Song (This is Not A), which received a surprising amount of radio airplay for a heavy, beat-driven dance track. As for the name change from Groove Terminator to the hipper GT, it is more a natural evolution than anything else. "All my mates call me GT," he offers, "and if anything, GT looks a lot bigger on a flyer than Groove Terminator!"