(An exclusive Interview with Toti Dalmacion, who’s back in Manila’s dance scene without “the bad taste in the mouth.”)

MANILA, Philippines—I have a confession to make. I have always been an admirer of Toti Dalmacion, the man behind Groove Nation and Terno Recordings. Why do I need to make this confession? It is interesting to note that I was associated with the other promotions group that was considered his competition. During the competitive years and as the Filipino crab-mentality absorbed some of us, he always commanded my respect. I share his passion and strong belief that Manila deserves to hear much more music than what is offered to us by our mainstream clubs.

Now, those of you who are younger are asking: “What am I talking about?” A short history lesson is needed for those who were not able to reach these parties that people used to call “raves” and to those whose house music initiation began with that ‘Superclub’ that people line up to.

Back in the day, which was around the early to mid nineties just as electronic music was beginning its entry into everyone’s consciousness, Groove Nation, a small mail-order record store located at the top of a building in Amorsolo Street in Makati, began organizing parties and events called ‘Consortiums’ at warehouses around the metro. Though, some were already playing and pushing house music, Groove Nation’s parties were pushing the music further and flying in the innovators and the originators of house and techno. Their parties were very memorable and some were just truly unforgettable with thousands and thousands of people dancing under one groove, albeit not your usual cheesy one.

Then around 2001, the sudden absence happened. Toti decided to focus on his independent record label, Terno Recordings, releasing albums from the cutting edge world of popular music such as Radioactive Sago Project, Drip, Up Dharma Down and the first album of a band called Orange and Lemons. During this time, the club scene had a huge void to fill. Though most people did not notice this void, I, and a few others did and we started organizing our own events directly influenced by the ’Consortiums’.

Now Groove Nation’s Consortium is back, after a six-year absence. Tonight, April 12, Saturday, at Warehouse 135, they return with UK DJ, Nathan Coles, a regular guest at Fabric, London, recently voted as the top dance club in the world at a recent DJ Magazine poll. Here’s an interview with Toti - it’s good to know that even after his absence from the dance music industry, it’s nice to know that he has not lost any of his fervor.

Why all of sudden, after the long absence, did groove nation come into the picture and throw a consortium?

You can blame or thank Musiklokal (a local website which was recently launched) and Warehouse 135 for that. They were persistent in getting me to play again and one thing led to another. I liked the response from the musiklokal launch and the Driven night (Warehouse 135’s Saturday nights) wherein Benjie Lopez and I were invited to spin. I’ve lost interest for some time now (6 years) due to certain people who continue to pass themselves off as this and that or worse, use Groove Nation as a business card as well as the general direction the country’s ’dance scene” has taken, if there ever is or was one to begin with. It’s way too commercial to my liking but playing again may have done the trick and has gotten me interested again.

Why in Warehouse 135 and not in Embassy or another club?

Even prior to my playing there, I thought of all the supposed clubs around, Warehouse 135 seems the most focused on what it wanted to be which was a bona-fide “dance” club not a club that pretends to be one and is basically just the place to see or be seen. I also liked the fact that “music” is the main focus of the club and it doesn’t want to be like every other club in the country.

In your long absence in the club scene, did you update yourself in the local developments? What do you think it is now compared to before?

I constantly observe and it hasn’t changed much. The only difference is, now, everyone is into house, or supposed to be into it like everyone was into trance in 99 onwards but it’s still more on the commercial end and funnily, while everyone claims to play or like ’house”, when you hear them play or they let you hear what they have on their iPods, it’s not really house. Either that or its really still cheesy dance music or trance (sorry but I’m a house/techno purist) or the ubiquitous compilations like Hed Kandi or the formulaic type of commercial “deep house” style ie Kaskade etc. So it’s either people can’t really tell the difference or are just being trendy. Unfortunately, the trend they’re jumping on is about 5 years behind. One can argue that it has improved but for me it hasn’t. The attitude and mentality has remained the same. The majority is still as close minded as before and that’s probably also why we’re going to try continue with Consortium. To give that option for those who want change and are open to new ideas in music and art. I know there’s an audience out there who want more than what’s given to them by radio and are discerning enough. I’ve seen it before my very eyes from 95-2002. There was an audience. They may have been the minority and these people may have gotten old by now, moved abroad but that is why there’s the need to influence the younger generation and build a new base that will help the growth in terms of appreciation and understanding of it all.

Why is the situation in our clubs like this?

Because we Filipinos are trendy, more on the surface and we go with what’s deemed by our society as what is “in”. We’re not critical. We’re passive consumers who just say yes to what’s being fed to us. We don’t complain nor voice out opinions because it might offend etc. That’s why people get away with murder most of the time. We don’t decide for ourselves individually what we like and why we like something but we just go with the flow and there’s always resistance to the unfamiliar- meaning not adventurous. Always playing it safe. In the local DJ arena, that would be like playing anthems and familiar tunes throughout your set. Sure everyone’s whooping it up and you’re keeping the dancefloor full but if it’s just the same music that they have on their iPods and what one hears in every bar/club North, South, East, West of the Philippines, then how will we progress to be more discerning and sophisticated. I’ve said this time and time again and I sound like a broken record already. The argument thrown at me before is that a DJ is an entertainer so he or she should please the crowd. Yes, I truly agree but what I don’t agree with is that the DJ should make them ignorant and insult their intelligence by giving them fluff, Mickey Mouse dance music and the top 20 favorites according to the commercial compilations. The crowd might as well bring their CDs and iPods and play it themselves.

Many say that Manila is not ready to dance to the music of Nathan Coles or anything not mainstream, what is your take on this?

Don’t agree. People always danced in Consortium....3000-4000 people danced to the live tech-house set of Pure Science, as well as relentless techno from Richie Hawtin, Mistress Barbara and jacked to the house sounds of Derrick Carter, Doc Martin so forth and so on. That may not be a lot but that showed promise and showed there’s an audience and ...they do DANCE. What Manila cannot dance to is if it’s experimental or really just not danceable. Simple as that. That’s the dilemma some local “DJs” experience because one, they’re not DJs in the first place but budding producers of electronic music who unfortunately cannot determine what’s for listening and what really works on the dancefloor. Two, No foundation and history of dance music (from soul, funk, disco, hip hop etc) and have just jumped on the bandwagon because he/she just bought a pair of CDs and a mixer and the latest Hed Kandi compilation. Three, Just no ability to read the crowd. Four, The party is your typical Manila party where people go to see and be seen, to “chika,” take drugs and the music is background. These are some of the reasons why and it is because of these reasons that most local DJs play what’s mainstream and popular ...to be safe which makes many say that Manila won’t dance to anything unfamiliar. Vicious cycle believe me. In Consortium though, as I have pointed out, that doesn’t seem to be a problem as people dance to anything dished out to them. Again, it’s not like I’m giving them something so out there and weird that they can’t dance to it. It’s very accessible, it’s funky, makes you move, be it a house, electro or a techno track, Heck, you can be uber-trendy (or slave to music trend/fad) and throw something New Rave or something very “in” nowadays. They’d dance to it. You just have to have the right attitude and maybe even give some “attitude” to the crowd to get them going. Just make sure you back it up as well by actually making them move on the dancefloor.

As a DJ, you have stuck to the vinyl format despite the price to pay for it compared to a digital format. How long will you stay analog?

As long as I possibly can and no I don’t see anything wrong with getting your tunes digitally as there are good sites for it. For practical reasons (no more carrying a heavy record case and quality material at that, cheaper too) but the fact remains, vinyl is still my weapon of choice because there’s nothing like it and as long as there are vinyl releases, I’d still prefer vinyl. It feels and handles better. It sounds better,especially the low end.

Do we see the return of Groove Nation? Are you going to throw more consortiums in the future?

Slowly yes, starting from that Musiklokal launch. I’m feeling it at the moment; the bad taste has left my mouth. Timing seems right. Up till January I couldn’t stand listening to anything “mixed” but that’s changed now. I’m about to go on radio again. Everything seems to click. As for Consortium, it’ll depend on how successful the 12th is. Most likely though. I already have artists lined up.

How can we change this?

The way to change it, although an uphill climb is just to keep at it and keep pushing the music and provide an option. There are people out there looking for it and these people may be the minority but it can and will grow. It’s better than just giving up totally because it seems hopeless. It’s a dirty job but some people have to do it. You’re not going to get an award or a million bucks for your efforts but if you’re really passionate about the music and you want to share it with your countrymen to uplift their spirits somehow through music, dancing and celebration of life, especially when everything seems downhill with this country of ours, then do something about it. Its bound to influence and catch on somehow. As George Clinton said “Free Your Mind and Your Ass Will Follow.”