"A robin redbreast in a cage puts all heaven in a rage."
-William Blake

PERDICIÓN: After Hours Tech Circuit #1

PERDICIÓN: After Hours: Tech House Recovery Ball: Rites 2021

"IT'S TIME FOR TECHNO MUTHRF*****S!"
-from Quadrophonia's "Shizophrenia"
1992

Ah Techno...There's so much to say (Have you ever known me to be at a loss for words?).  Many people mistakenly think a song on the radio with a dance beat is "Techno".  Not true.  Techno is differentiated by fear, warning, threat, euphoria, political message, control or lack thereof, mental confusion, and even sheer anger in the music's beat and its message.  I tell people I was never much into house music.  That has since changed but the roots of my love of dance music originally stem from a love of techno that began in the early 90's.  In particular, I remember a track by Euphoria called "I Like Noise".  In this track is an Italian-styled back and forth between classic techno samples with which a robotic voice announces, "I Like Noise", setting off the noisy techno clips.  Intertwined are house snippets announced by the robotic voice to set off the exclamation, "I Like House".  It is a wonderful illustration of the times of the friendly, mutually respectful battle for dominance between techno and house music.  I remember hearing this on the dance floor of the Ramrod, Boston--a set of which you'll find within my "Knight-in-Motion" series, "A Tribute to Mandance Sundays @ The Ramrod, Boston '91-'97".

Techno music has it's origins in the underground clubs of Berlin.  In the US, techno came out of Detroit in the 1980's as underground dance music and subculture. Techno music took technology and made it a black secret. It came from the melding of black styles including Chicago house, funk, electro, and electric jazz with electronic music.  However, the use of the term "techno" to refer to a type of electronic music originated in Germany in the early 1980s. In 1988, following the UK release of the compilation Techno! The New Dance Sound of Detroit, the term came to be associated with a form of electronic dance music produced in Detroit.  Who thought of it first?  My bet is on Europe, as major capitals like London, Berlin, Milan, and Amsterdam were and remain far more forward thinking and innovative than the US--where to this day, believe it or not-- the arena of dance music is bastardized as a "black" or "gay" sound, unworthy of the acknowledgement and acclaim it deserves.  When vinyl records were still being produced--A&R and label heads resented the high cost of making and distributing 12" singles of sub genres of dance music like house-- in particular techno.  They said that 12" singles represented 5% of sales and cost the most to produce and distribute.  Well of course!  If you remember Tower records or record stores like Newbury Comics in Boston, there were a huge selection of German techno imports by the late, venerable German label ZYX records.  Luckily there were vinyl listening stations where you could listen to theses vinyl gems--Thank you Tower Records, New bury Comics, Boston Beat and Vinyl Connection, Boston, for your support of this small yet powerful label under the umbrella of BMG.

Berlin is often hailed as the mecca of techno parties. One third of its 5.3 million tourists a year are said to be drawn to the city by its techno scene. Berghain is perhaps the most infamous club of all and has been labelled the best club in the world by many, from the New York Times to DJ Mag. The party lasts from Friday night until Saturday morning, and then runs again from Saturday night until Monday. Because of the gritty, hedonistic nature of this club and its consistently top-notch DJ lineup, many a partier has attempted to enter its gates. Most are turned away from the door and retreat home in disappointment.

If we trace back the history of techno, we find it was largely an expression of struggle by African Americans in Detroit, and a cry for their decaying city and home. Detroit techno traveled nearly 7000 km to find new life as Berlin techno.

Peace,
djPerdición

PERDICIÓN: After Hours Closing Set: Dark Eros

TRIBE Series: Closing Set (The After)

Redemption 2

Redemption 3

I would like to thank the following remix services and incredibly talented individuals associated with them, but to name only a few, who worked tirelessly to make the tracks we loved even better.
All my best,
djPerdición

Direct Hits
Discotech
Hot Tracks
Roadkill
Eurotracks
REMIX!
Ultimix
X-Mix
Rhytm Stick
Art of Mix

Steve Bourasa
Paul Goodyear
Chris Cox
John Moffett
Lenny Grey
Lenny Bertoldo
Armand Van Helden

Redemption Special Edition: Remix Services 1: For Professional DJ Use Only!

Redemption Special Edition: Remix Services 2: For Professional DJ Use Only!

This set has a lot of mixing errors but I liked the way it sounded a lot so I decided to post it.  I always use the example in these cases of Debi Thomas at the 1988 Olympic games.  She fell on a lot of her jumps but she skated so beautifully she still won the bronze metal.  So think of that while you listen.

Best,
djP


❗️❗️❗️❗️❗️❗️❗️❗️❗️❗️❗️❗️❗️❗️❗️❗️❗️❗️❗️❗️

                                                                 SERIES EXAM: TRIBE/REDEMPTION
                               

Overview:
 
In order to take this test, you must not only learn the material, you must understand how it is grouped.  djPerdición's profile is organized by sets within a series theme.  "Knight in Motion" is the artist's introduction to Tech house music using the Pioner DDJ-1000 console.  The next series, "quiMico científico" is in reference to the DJ as an alchemist, containg a plethora of ingredients from deep house to circuit and techno. "Evolve NYC 2021" finds the DJ deeply immersed in the UK Tech house scene, in particular the movement pioneered by Tech house legend Mark Knight. "Twilo Forever" is not an homage to the late super club.  It is a DJ's gambit in defining his own idyllic residency, mock the old one for what it lacked, and properly redefine it.  "After Hours" is a significant deviation in style for the DJ, a reprieve: at first sweet, soft, sensual sets that  develop into the dark knight's ball, with a set finale that explores the dark human heart.  The "TRIBE" series is largely one of pure techno and its various sub genres. (For a detailed description of Techno, refer to "After Hours" series set "Dark Eros" program notes).  The "Redemption" series is a set of Progressive house. (for a detailed description of Progressive house, go to: https://en.wikipedia.org/wiki/Progressive_house).

This an open book test.  Shazam is allowed.

Good luck.


1)To what group does the "TRIBE" series refer?
2 What do all the vocalists on the "Redemption" series have in common?
3) What is the significance of the hands in the "Redemption series?
4) What do the rainbow colors stand for?
5)What is a DJ remix service?
6)Who are Adam Beyer?  John Moffett?  Sexshooters?  Progressive Astronaut?
7)What is meant by "dark eros" in the artist's final set of "After Hours"?
8)What is the subtle change to the artwork as the sets progress in the "Redemption" series? 
9)In Euphoria's "I Like Noise" on the "Redemption" special edition DJ Remix Services 4--name all the techno tracks sampled that come in rapid succession during the middle bridge section of the track.
10) Who is Holly Johnson?  Which of his tracks is featured on one of the early 90's DJ only remix services?  What rock group is he associated with and which song did this group write and perform that so many times topped Billboard charts?
11) Name all the NuNRG tracks on the TRIBE Deeplomatic demo.
12) Toward the end of the TRIBE Deeplomatic demo there is a track that has a male spoken lyric, "The DJ's took pills to stay awake for 7 days..." and, "All your soft words were birds endlessly in flight."  These are the words of a famous rock star.  Name him.
13) Who is Adrian Hour, describe his sound and name the TRIBE set on which he appears.
14)Oddly, Lula and Alan T make an appearance on which TRIBE set?
15)True or false: The track by The Sphinx "What Hope Have I" is about survival.
16)True or false: The term "disco" is descriptive of a sound as well as an era.
17) True or false: Progressive house is a sub genre of house music.
18) True or false: DJ only remix services were available only to DJ's
19) True or false: The series TRIBE has a lot of mixing errors.
20) True or false: djPerdición isn't so bad after all.

Extra Credit: What is Sunscreem's classic track "Love U More" about?



Send your answers to me for your reward, punishment, or dismissal.

djdavidmarshall@gmail.com

Thanks for taking the time to take the test and hone your skills!

SPECIAL EDITION: DEMO For The Q NYC (Click on Me to Take Series' Exam)

SPECIAL EDITION: DEMO For The Q NYC (Click on the "Q" to Take Series' Exam)

The Perdición Library Audit Sessions 
-- Join me on a non programmed alphabetical mixing assessment of unknown tacks in my music library. 

*Listening Notes:  These are not entertainment "sets." They are work "sessions." --Aesthetic segues are frequent but not assured as I am using headphones and not booth monitoring --Do not be alarmed at times to hear on these session recordings the following: 1)multiple cueing attempts, 2)equing experimentation, 3)mixing errors and retries, 4)cold endings, 5) dead air. --Once I know the track I move on to the next one which takes about 2-3 minutes.  Unless I'm enjoying it or became otherwise occupied.  As alluded to, if the next track will not distort by BPM adjustment in order to properly present, I will do so.  If it will, I will do quick fade out of current track and start next track.  If I don't like current track, there will be a cold ending before next track.  If I delete current track from the library, there may be up to 10 seconds of dead air before music resumes so please be patient.

Note: There are occasionally periods of dead air for longer than 10 seconds as I take notes following a track.  Be aware that on playback on SoundCloud, I have noticed the system can be triggered to end the track if the period of dead air is long enough.  Simply scrub a few seconds ahead until the music resumes. I have noticed as well that when listening at a high volume level on my iPhone I will get a warning message that the volume should be turned down and sometimes but not all the time the phone will end the recording after this warning message.  Simply go to SoundCloud and restart the recording.

Perdición Library Audit (7):  STRI Through TECH (Album) Session Findings/Notes Update

Perdición Library Audit (13): 'Dime Through Endurance' Findings/Notes Update

Perdición Library Audit (16): 'Flex Through Go' Findings/Notes Update

Perdición Library Audit (22):  'Last Through Mark' Findings/Notes Update

The Perdición Library Audit Sessions 
-- Join me on a non programmed alphabetical mixing assessment of unknown tacks in my music library. 

*Listening Notes:  These are not entertainment "sets." They are work "sessions." --Aesthetic segues are frequent but not assured as I am using headphones and not booth monitoring --Do not be alarmed at times to hear on these session recordings the following: 1) multiple cueing attempts, 2) equing experimentation, 3)mixing errors and retries, 4) cold endings, 5) dead air. --Once I know the track I move on to the next one which takes about 2-3 minutes.  Unless I'm enjoying it or became otherwise occupied.  As alluded to, if the next track will not distort by BPM adjustment in order to properly present, I will do so.  If it will, I will do quick fade out of current track and start next track.  If I don't like current track, there will be a cold ending before next track.  If I delete current track from the library, there may be up to 10 seconds of dead air before music resumes so please be patient.

Note: There are occasionally periods of dead air for longer than 10 seconds as I take notes following a track.  Be aware that on playback on SoundCloud, I have noticed the system can be triggered to end the track if the period of dead air is long enough.  Simply scrub a few seconds ahead until the music resumes. I have noticed as well that when listening at a high volume level on my iPhone I will get a warning message that the volume should be turned down and sometimes but not all the time the phone will end the recording after this warning message.  Simply go to SoundCloud and restart the recording.

Perdición Library Audit: (23) 'Melanie Through Moon' Findings/Notes Update

Perdición Library Audit (23): 'Melanie Through Moon' Findings/Notes Update

We love, we laugh, we cry.
But we do it together...and we are all here together.

Deepest love,
djPerdición

Gay Pride NYC 2022

Perdición's Diva Alien Abduction < Wicky Wacky Woo >

Perdición's Diva Alien Abduction <Wicky Wacky Woo>

Perdición: Invictus Set #3: BOY oh BOY!

-"Theme" DJ
-Bedroom DJ
-DJ as Programmer

If you know which end of a turntable is up, the difference between a compact disc and a vinyl recording or at the very least, where to find a volume knob or slider on a console, you should well know that if you are a "Theme" or a "Bedroom" DJ, then you've got major problems and it's time to break the habit, listen, and try to learn something here.

*Professor Perdición's Directive: 

There are three 30 minute mini sets of 5-7 tracks each illustrating the 3 categories above contained on this Educational release.  There will be a fade out at the end of the final track of each mini set to indicate the mini set has concluded.


1)"Theme" DJ Mini Set Explanation:  First, let's establish what we mean by "Theme".  Not to be confused with 'themes'.  This DJ term has at times confused some of my students to no end.  Let me first start by differentiating the term "Theme" vs. the word 'themes' by using them in sentences:

Example #1, Regular Word 'Theme'(s): The theme for Angela's and Paul's anniversary party was medieval royalty so they wanted the attendees to have stylish indicators of rank.

Example #2, DJ Term "Theme" (can only be singular): "The DJ has been playing so "Theme" lately!  We all know about his personal crisis but all he ever plays is the same old shit!"

Playing "Theme" is a failure to be professional, to lack originality, to be stuck in a time warp, to simply not care or all of the above. You were hired to do a job and you are being paid to carry out your duties as a performer as required by a combination of your employer, the venue itself and those in attendance.  Check your issues at the door of the event quickly if you have them!  Don't like the lighting guy? Tough! Last minute technical problems?  No one cares.  Forgot to eat before your 12 hour set? You can never be too rich or too thin.  Broke up with your boyfriend before you left? Get a new one. Lost your whole music collection?  Good thing you arrived early--you can go shopping for more before you go on!  

Did you guess why mini set #1 (Theme) is "Theme"?

--It's all about lost love, heartbreak, and pain; talking it over, making up and second chances--Disney-esque amounts of drama and complication in and from love.  May sound nice 'cuz I mixed it but nonetheless it puts out a hopeless vibe that no one gives a fuck about.  At the end of the day, everyone's been there, done that, and you'll notice that older, played-out music is used to accomplish this tired old vibe.


2)Bedroom DJ Mini Set Explanation: Oy vey!  In my book, this condition of being a bedroom DJ almost warrants capital punishment but I have to remember that this can be an easy state of mind to fall into if YOU'RE ON MAJOR MOOD ALTERING SUBSTANCES OR HAVE HAD SEVERE BLUNT TRAUMA. THERE IS NEVER..........ANY EXCUSE FOR THIS TYPE OF UTTER FAILURE AND ABDICATION OF YOUR ROLE AS DJ.

Are we clear?  Good.

A bedroom DJ, simply put, plays whatever he or she feels like listening to at any given moment as if no one were in the room--as if he or she were alone in his or her bedroom. Oblivious, uncaring, untalented.  I won't even speak about the kind of music I played in this mini set because I just put on anything that caught my eye for the hell of it.  I didn't put much effort into mixing it, I didn't care.  I don't really know how to be a bedroom DJ because I'm a diehard programmer.  Enough said. 


3)DJ as Programmer Mini Set Explanation:  A guy once said to me, "Do you play your own stuff or just play other people's stuff"?  I replied, "Actually I program music".

There are different kinds of 'programming'.  Then there's 'program' the noun and 'program' the verb.  I am a programmer.  The sayer, the seer. Ominous and exciting fear of things to come, adrenaline producing sounds permeate my program in mini set 3.  I'm thinking on my feet, there's a methodology.

Hear the difference?  There's a plan!  It makes sense--there's a program!  

Best,
djPerdición

Perdición: Tech Hunters #4: What Kind of DJ Are You? (You Must Read my Notes)

Perdición: Tech Hunters #4: What Kind of DJ Are You? (Please Read Track Description Before Play)

Perdición: Series 'X' (Y-is-for-You)

The Perdición Library Audit Sessions 
-- Join me on a non programmed alphabetical mixing assessment of unknown tacks in my music library. 

*Listening Notes:  These are not entertainment "sets." They are work "sessions." --Aesthetic segues are frequent but not assured as I am not using headphones to mix nor booth monitoring --Do not be alarmed at times to hear on these session recordings the following: 1)multiple cueing attempts, 2)equing experimentation, 3)mixing errors and retries, 4)cold endings, 5) dead air. --Once I know the track I move on to the next one which takes about 2-3 minutes.  Unless I'm enjoying it or became otherwise occupied.  As alluded to, if the next track will not distort by BPM adjustment in order to properly present, I will do so.  If it will, I will do quick fade out of current track and start next track.  If I don't like current track, there will be a cold ending before next track.  If I delete current track from the library, there may be up to 10 seconds of dead air before music resumes so please be patient.

Note: There are occasionally periods of dead air for longer than 10 seconds as I take notes following a track.  Be aware that on playback on SoundCloud, I have noticed the system can be triggered to end the track if the period of dead air is long enough.  Simply scrub a few seconds ahead until the music resumes. I have noticed as well that when listening at a high volume level on my iPhone I will get a warning message that the volume should be turned down and sometimes but not all the time the phone will end the recording after this warning message.  Simply go to SoundCloud and restart the recording.

Perdición Library Audit #2: Africanismo Thru American Type

Perdición Library Audit 'In Twos' Thru Jara Swai  *Audit completed*

Perdición: The Villain's Pre-Summer Sampler #4

Perdición- Back 2 Tech Finale

Perdición: Back 2 Tech: Finale

Perdición- Life 2

Perdición: Life 2

Perdición: Life 5 Finale

Perdición: Vamos A Darle: Premiere

Perdición: Vamos A Darle #2

Perdición: Vamos A Darle #3

Perdición: Vamos A Darle #4

Perdición- Vamos A Darle: Finale

Perdición: Vamos A Darle: Finale

Perdición: Premiere: Techno Lives

Perdición: Techno Lives #2

Perdición: Techno Lives #3

Perdición: Techno Lives #4

In Christian theology, perdition is defined as a state of eternal punishment and damnation into which a sinful and impenitent person passes after death.  Its origin is actually from the Latin 'per' for complete destruction and "dare" meaning to put.  So you may ask why my name is in Spanish.  A few years ago,  I was hanging out with my friend Max, a good-looking, exceptionally styled, well spoken local business manager from Columbia.  While sharing music together, the name came to me.  We both laughed then agreed that the name could be quite the brand.

Welcome everyone, to my world.  I tell people never to say you’re sorry unless you do something wrong; get to know me, then you’ll really be sorry!  You’ll also find me here as DJ David Marshall, the moniker for my previous professional identity.  There, you'll find a set of my music that was broadcast from a then little known vintage record store called "Iris Records" in Jersey City, NJ.  The style is underground international, running the gamut from garage and deep house to progressive and rave.  What no one knew was that the store also had some DJ remix services and import gems like a rare monster mix of The Fine Young Cannibals, "I'm not the Man I Used to Be".  Indeed.  All my best to Iris Records for awakening me from the dark spell under which I'd fallen.  It may have lifted but the remnants remained and grew the tendrils which formed the matrix of who I have become today.  Friends, there's no easy way to put it- djPerdición is a trouble-maker, a nuisance of the highest sort, relentless and clever. What captures his imagination is the darker side of human nature. This DJ seeks to access what lies deep within you and will settle for nothing less, lest you be punished for your refusal to comply. Perdición will mold you into a loyal and lasting follower, a participant on the dance floor of redemption, transformation and smoldering sexuality.
 
There are many people to thank for helping me to get here: Caril and Tom at Vinyl Connection record store, Boston- Love to you both for changing my attitude and teaching me.  Caril, thanks for mentoring me.  You scared me at first but I now know there was a method to your madness.  Thank you, Tom for help with finding the classics. James Fournier- Thanks for being a friend and foreshadowing a life to come.  To Bill Nelson- Thanks for tolerating an unruly youth and for your hospitality. To Boston Beat  Records, Tower Records, and Newbury Comics- You rocked!  To Deirdre DaGata at The Boston Record Pool, "I hope you like drama", too! Thank you for getting me to play promos.  In appreciation of Daryl and Bob of the late Youkon Trading Company in Providence, RI for my first residency holding a dance floor.  DJ Denis Sargent, formerly of Boston's Ramrod- Rivals make the best teachers.  To DJ Joe Despinosa:  You played my first circuit party in Gotham.  Where are you now? Thank you Peter Tanico, for letting me in the booth and the village madness.  In memory of Louis Morheim, owner of the late "Heartbeat Records".  Thanks to David at "Rebel Rebel"- Your descriptions were legendary. To Brian Landeche, owner of the late Splash bar- Thank you for giving me a chance.  No more drink tickets for me, right?  Marlon Owens- You are in a better place. Thanks to Tommy the Tiger, good friend and fellow DJ- You are missed.  Thanks for being my friend, Susan Morabito.  Many thanks to Richard Smith at The Eagle NYC- You believed in me, Richard Sabala lit the way- We miss his lighting magic.  My best to New York's LGBTQ Center and center dances committee- You are sorely missed.  Best to good friend C. Grados- I won't soon forget. Props to DJ Joe Gauthreaux.   Thanks for “Give It” (A little more time).  We tried that Pup, maybe another time.

Introduction: djPerdición

Introduction: djPerdiciòn

I was in my heyday in Boston on Sundays at the Ramrod...and the the best is still to come!  Picture it- A curious, driven, blond young man and an older, experienced leather man together on the dance floor, an unlikely duo.  Not really.  We fueled our mutual passion for dance music while becoming good friends.  James was happy as a vinyl collector while I had a fire in my belly to go pro.  There were moments when we could have been intimate but that didn't happen.  I didn't think I would be blessed again to have another friend like James but the universe had other ideas two years ago.  Now the shoe's on the other foot.  I'm the older, experienced one, he's young and ambitious, and we're not speaking.  It would seem intimacy got in the way this time. Back then with James, I told myself I didn't want to put the friendship at risk by changing the form of it out of fear of what that might mean.  If James and I had connected intimately, we might be together today.  Paradoxically, I'm now open to more but my friend is scared like I was because the form of our friendship has changed.  I may not be on the dance floor or in the studio with someone special but I'm channeling my frustration into my work.  That's what's important right now or at least that's what I tell myself.

The Ramrod is a leather bar in Boston that at one time opened its second room to dancing.  Not a grand production, they just moved all the oil barrels off to the side and VOILA, Mandance Sundays was born!  I was only 19.  I whooped and hollered on the hard asphalt dance floor so much so that people would ask me if I was a go-go dancer.  I got people motivated.  You might be wondering what I was doing in a smokey, dimly lit leather bar.  I always said that it wasn't the decor or leather men, it was just the type of music I liked.  Or so I thought.  I would later come to see that it was a lot more than the music which drew me there.

This set is a next step from my last session and shows my progress back then and with today's technology. It was quite the challenge putting together these analog mp3's but I think I did a pretty decent job uniting past and present.  You'll hear a few beat-mixing and technical errors but I still think I got the bronze!  Be prepared to be taken back to when leather men and young men appreciated their respective differences and came together on dance floors.  I don't know that Boston's Ramrod quite succeeded in capturing this ideal with its Mandance, but it was key for me in becoming a man.  I heard the sounds of generations past and felt the pride and glory of these brave men all around me.  Some of them didn't like me much, but James sure did.  I didn't realize that he and most of the others around me were affected by the AIDS virus.  As such, my presence there was dubious to some but I had other ideas.  I persevered and landed a comparable gig at a leather club in Providence, RI, called The Yukon Trading Company.  We all have to pay our dues- Young DJ's please remember that.

All the best,
djPerdiciòn

Perdición: A Tribute to Mandance Sundays @ Ramrod, Boston 1991-1997

BOO!!

Happy all hallow's eve!

This set used to be called "TEST PRESS PROMO" and like our current series, has evolved.  Here at House of PERDICIÓN, we strive to bring you the finest and fiercest in house music of all types and freaky flavors!  It has, however, been brought to our attention that TEST PRESS PROMO was in fact deemed by test audiences as reductive and  sickening.  I, djPerdición, then found myself being read for filth by a Biba from Vizcaya! 

She loved every minute of it.

And so will you.

Happy Halloween,
PERDICIÓN


Answers to last issue's quiz:
1) A
2)C
3)B

PERDICIÓN: SPECIAL EDITION: DIRTY LITTLE SLUT TRAMP BITCH

***ATTENTION***
!!! NO DISCO NAPS ALLOWED HERE !!!

HELLO PEOPLE, HOW ARE WE TODAY?  ARE WE READY TO GO?  LOOK AT ME AND DO EXACTLY WHAT I’M DOING....

*         *          *

PERDICIÒN’s at it again!  Pushing limits and traditional boundaries.  Are you ready to rock? Are you man enough?  LET'S GO!

This is the third in my “quiMico Científico: Rumore" series.  It is rumored that an alchemist is mixing elements for dreams and realities while making sick beats.  So eat your Wheaties, take your vitamins, and start your day right!

Now here's the game plan, pay attention.  Note:  There will be a test on the material you have listened to.  You are to report directly to PERDICIÓN's lair for some pre-testing fun first!  I'll take you to Hell, dancin' in Heaven but that's only if you get lucky.

                                   
EXAM: quiMicos Científico: Rumore N 3

Note:  The use of Shazam and other track identifiers is allowed.

1) Name the 4 major themes in the set.  In your answer, you may use both genre types and musical description.

2) Name the track that marks the division of this set into 2 distinct sections and explain why it does this.

3) What is the identifying track of this set and what does it mean?

4) When is the "inside-out" mix that occurs early in the set and name the 2 tracks used.

5) Explain the meaning in the last 4 tracks of the set.

6) Name 3 tracks in the set that are produced by Toolroom records and explain the importance of this label in the industry. 

7)What is/are the message(s)of this set?

8) Relate a personal experience with one or more of the tracks in the program.

9) Why is the 'M' capitalized in 'quiMico'?

10) Based on your understanding of my DJ name, which 2 tracks in this set clearly identify me?


TEST RESULT BREAKDOWN:

1) You have the unfortunate failing grade.  Learn from your mistakes.  I'm still your biggest fan.  

2) You gave it a good try but missed the boat- PERDICIÓN will message you back and explain the errors and will invite you to have a friendly ongoing on line dialog about music and give you some DJ tips.

3) You passed, answering some of the questions correctly.  You have won an honorable mention and a complimentary DJ lesson in my studio.

4) You answered a majority of the questions correctly and didn't show off too much about doing so- PERDICIÓN will invite you to collaborate on a mix for SoundCloud provided you have sufficient mixing skills.  If you don't, you'll get 2 complimentary DJ lessons in my studio- together or on different days, your choice.

5) Should you get a perfect or near perfect score, you are offered all prior rewards, reasonable access to my studio and an invitation to work on a commercial release.

Message me here or djdavidmarshall@gmail.com with your answers.

Good listening and good luck,
djP

PERDICIÓN: quiMico Científico: Rumore N 3 (Take the track test inside!)

So what do we mean by Nu NRG?  First of all, it's not pronounced 'new nurge'!  As with the term 'HI NRG', 'NRG' is pronounced "energy".  Call it DJ shorthand if you will.  Nu NRG was born in the mid 1990's and is largely attributable to Rowland Armstrong and Ayalah Bentovim, better known as Rollo and Sister Bliss.  They comprise the band "Faithless" with vocals (often rap lines) by Maxi Jazz and produced by Goetz.  These talented individuals are largely responsible for the genesis of the Nu NRG movement in the mid to later '90's and they remain a force for change today.

Like the New Wave movement in music, Nu NRG changed the way we thought about high-octane music like Techno, Trance and Rave.  Unlike house music, Nu NRG is not recognizable based on differing beat patterns so much as it is by its gothic and "spooky" sounds.  It's always Halloween in Nu NRG land.  Nu NRG is a sub genre of Trance music.  Think of Nu NRG as more a tale than a story; it is more editorial than its sister styles of Techno and Trance.  If Trance tells a story of electronic love and Techno tells one by injection of a poison*, then Nu NRG  tells the story of driving down and endless road after leaving a fairground**.

*Quiz* 

Directions: Based on your own knowledge, what you have read, and the set presentation, please select the answer that best resolves the statement or issue in question.


1. "Nu NRG sounds like a video game to me".

A) "To err is human; to forgive, divine".
B) The Nu NRG track "Encore Une Fois" by Sash! is used in video game media.
C)  Simply Red's "The Fairground" is about a video arcade game at a carnival.
D) The author of this statement has ingested a hallucinogen in the near or distant past.
E)The statement is correct.


2. Based on what the Author describes as Nu NRG, what can we infer about New Wave music?

A) New Wave and Nu NRG are inextricably entwined in a dance of pleasure and innovation with alternating beat patterns.
B) This question cannot be answered because New Wave is a movement and NuNRG is a type of house music.
C) Erasure and Dead or Alive are New Wave groups.
D) Like New Wave, Nu NRG created a curious recognizability in its rhythms.
E) All of the above


3. Which answer best defines the message of the last sentence in the passage?

A) Simply Red's "The Fairground" line, "It's always friends that feel so good.  Lets's make amends like all good men should".
B) Self-sabotage
C) Crime doesn't pay.
D) The sentence is an unfortunate prognosis.
E) As the sentence contains song lyrics, it is open to interpretation.

Look for the answers in next issue's program notes.

Best,
Professor PERDICIÓN

*from Praga Khan's "Injected with a Poison"
** from Simply Red's "The Fairground"

PERDICIÓN: EVOLVE 2020: Episode 1

PERDICIÓN: EVOLVE NYC 2021: Episode 1 (Take the quiz inside!)

~An Interview with djPerdición~

Intense and replete with musical craft and guile, the one of a kind djPerdición, nicknamed "The Villain", is a 'DJ's DJ' who hits the bullseye every time, utilizing music as concept.  Perdición continues to gain momentum, knocking off the competition, wielding tech beats like knives to cut through nonsense and stimulate your senses with a massive musical toolbox.  Along with the DJ's nightly gambits and other plotting, you'll have the time of your life and be moved by the hands of a true master. 

Perdición later commented, "Look–at the end of the day we DJ's are performing a service and collecting a paycheck not doing brain surgery.  We are both technician and artist so don't get tangled up in your tinsel," he smirked.

It was hard to maneuver my way through the Rites Ball 2024 NYC pre party mayhem.  I cornered a cute, curvy blond who had the following to say, "This DJ takes you on an awesome sonic ride and fucks with your head...and it feels so good.  And it's like pure adrenaline, scary and beautiful.  I like a guy with a point of view."

Then she ran off.

Afterward in the ensuing crowd, I made my way to an empty lounge.  I saw small billows of smoke leading me to the DJ.

"Sorry, I couldn't find you," I said out of breath.

"Never say you're sorry unless you do something wrong.  Get to know me, then you'll really be sorry," he giggled and then said innocently as he stubbed his cigarette: "I'm really very gentle–with gentle people, that is." 

"What's your secret?" I asked Perdición.

"I use phase-shifting flange mixing techniques I learned on quartz modified turntables.  I'm judicious with sync, it can cause train wrecks and fuck up the sound.  Although some say it's primitive, I use Serato because of its analog behavior, glitches and all.  Most importantly, I always "program" music while performing.  Occasionally I'm spontaneous but never random.  A DJ must program, not be apathetic to the myriad of factors constantly unfolding and presenting.  There must be flow, fluidity, and sensibility.  Think of driving.  You must be skilled at recognizing the routes, detours, terrain and taking the appropriate action at the right time. You can be taught the skill of observation but not the instinct and knowingness to program good music."

With his classically trained pianist's ear, Perdición's musical sensibility has the power to demolish the competition.  "Listen to the words," admonishes the DJ.  "They're there for a reason."

"Tell me about your name and how it came about?"

"I've suffered and lost a lot."

"What about your nickname, 'The Villain'?"

"I think it's because I make other DJ's look bad," he said flatly."

"What does that mean?" I asked.

"I'm very good at what I do.  Few really are."

"A columnist in DJ magazine once wrote, and I quote, 'Friends, there's no easy way to put it- djPerdición is a trouble-maker, a nuisance of the highest sort, relentless and clever.'  

"What is your response?"

"I like the guy already," he smiled.
 
"Let's talk about your philosophy of "'concept'", I queried.

"Music is always conceptual regardless of the kind.  Music tells a story, whether by words, lyrics or libretto.  Let the music tell the story in all its aspects and let the DJ be the purveyor of it, not the author."

Perdición's ability to people watch and deliver musically is unmatched.  He follows his instincts with skill befitting a reputation for luring his audiences into an altered state and uncertain fate.  His counterintuitive style has emerged as one of the foremost in tech music with intelligent conceptual execution and a keen attention to people.  Says Perdición, "The crowd also takes the DJ on a journey." 

"The DJ's job consists largely of people watching, not jumping up and down, twiddling with knobs or dancing, waving your hands in the air like a fool.  Have good posture at all times with eyes on the audience while working", admonishes Perdición.

His first residency was at the notoriously named Club 9-11 in Chelsea, MA, followed by a 3 year residency at the late leather man's dance club- The Yukon Trading Company in Providence, RI.  It was there that the young Perdición found his footing and began to rise.  In Providence, he wowed crowds in this sleepy college town with Boston Record Pool promos, little known Nu NRG imports and DJ only remixes.  Perdición created a new dance floor for forward thinking elders and snatched curious young men from the grip of local clubland mediocrity.

"Tell me about the Yukon", I asked.

"It closed years ago, probably the last of the leather clubs with a dance floor. It was my first dance floor and longest residency to date but I don't have a shred of evidence I ever worked there because they never billed me.  They didn't want to advertise the DJ which led to problems ahead.  Everybody said my bosses were assholes but funny, I was the one with the gig.  In retrospect, although my superiors weren't perfect–and none are–they liked my music enough to keep me around for almost three years and I'm grateful."

Perdición was invited to New York City by then longtime friends Steven Hanson and NYC Eagle's former manager, Richard Smith, partner of the late lighting legend Richard Sabala.  In NYC venues include: The Eagle (old and new), Splash, 10th Ave Lounge, Hangar, LGBTQ Center, Recovery NYC, and Harry Winston.  However, these define a past in need of movement forward.

After years of hard work in the big apple. Perdición caught the attention of world renowned DJ-producer-record label owner Georgios Pallikaris (G.Pal) of Utopia Music Concept, Best Radio, (Greece) and Swift records.  Perdición studied music production with Pallikaris.

"What is your advice to aspiring DJ's?"

"At first your audience may balk at the unfamiliar but stick to your guns because they will come to love you for showing them the way to greater heights and the new.  However, spoon feed your crowd and give them what you think they want and they'll end up hating you for doubting them.  Don't forget to check your beat grids and remember to give a listen to those other genres.  You'll be surprised what you may find."



~Venues~

Iris Records, Jersey City NJ

The Eagle NYC (New)

Harry Winston Jewelers NYC

19th Street Gym, Chelsea NYC

LGBTQ Center Dances NYC

Recovery/Sobriety Dance Parties NYC

The Hangar Bar NYC

Splash Bar NYC

Void, Soho NYC

American Fitness, Chelsea NYC

New Year’s Eve Events, 1999 NYC

The Eagle NYC (Former)

Tenth Avenue Lounge, Hell’s Kitchen NYC (Residency)

Mikes Bar, Hell’s Kitchen NYC

The Club, Ogunquit, ME

Commitment Ceremonies, Boston

The Brigg, New Bedford, MA

The Yukon Trading Company, Providence, RI (Residency)

The 119 Merrimac, Boston (Residency)

Marriott International, Cambridge, Boston

The Club Nine-Eleven, Boston (Residency)


[Seeking PR/Social Media management and bookings at club/lounge/private events in New York City and internationally]
Email: djdavidmarshall@gmail.com
Cell: (929) 401-6685]

djPerdición

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