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

Perdición: Tech What? (No. 3)

Perdición: Tech What? (No. 4)

Let this be a sendoff inscription to what is the new and second audit of The Perdición Library Audit Sessions.  I bring this to you partly out of the success of the first one as insights on our creator dashboards don't lie.  But largely out of frustration and the gripping need to stay connected to the music somehow.  I haven't had a gig in well over 10 years and well...that's a whole other story.  Maybe I'm resigned to it.  I may be down but I'm far from out of the game.  Mark my words.  This is what I was put here for.

What I do know is that I can't go on at this time continuing to program music with music rather than music for people set after set after set.  I'm fresh out of ideas shall we say.  It is simply pointless.  And I just told you I haven't programmed music for people in over 10 years.  So I'm also quite bored!  So again as with the first audit series, I'm just going through my library (I update daily) and recording tracks I'd like to better know in alphabetical order and uploading sets of them for our collective benefit.  Easy.  And at last I'm having some fun doing it.

(Turns out the music sounds better in this random way than if I'd continued the drudgery of programming it with itself.  And like I said, what's the point in that?)

Good listening,
djP


*     *     *


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 #1: 001 Thru Adventures

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 #3: Amnesia Thru Barcelona

Perdición Library Audit #4:  Beat Agent Thru Brainwash

Perdición Library Audit #6: Come Back Thru Dark Sunset

Perdición Library Audit #7: Datt Ditty! Thru Dreams

Perdición Library Audit #10--'Feel It Baby' Thru Feel It

Perdición Library Audit #11--'Fym' Thru Groove And Drums

Perdición Library Audit 'Here Comes The Night' Thru In The Club

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

Perdición: Premiere- The Villain's Pre-Summer Sampler

Perdición: The Villain's Pre-Summer Sampler #2

Perdición: The Villain's Pre-Summer Sampler #3

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

Perdición: Finale, The Villain's Pre-Summer Sampler

Perdición: Moon Series Premiere: Dark Fluffy Moon

Perdición: Dark Weird Moon

Perdición: Bright Happy Moon

Perdición: Power Moon

Perdición: Moon Series Finale

Perdición: Proud

Perdición- Have A Heart #1

Perdicion- Have A Heart #2

Perdición: Back 2 Tech Premiere

Perdición- Back 2 Tech #2

Perdición- Back 2 Tech #3 (Promo)

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

[An Interview with djPerdición]

[Brilliant yet of questionable moral repute, djPerdición, nicknamed "The Villain", is a wild card, a DJ on the loose.  Perdición continues to gain momentum, wielding tech beats like knives to cut through nonsense.   Despite the DJ's nightly gambits and other plotting, you'll have the time of your life and be "beat-en" by the hands of a true master who only wants you to have fun.

Perdición later commented, "Look–at the end of the day we DJ's are doing a  service, not brain surgery.  We should be both technician and artist– but don't get tangled up in your tinsel," he smiled wisely.

It was hard to maneuver my way through the Rites Ball 2021 NYC pre party mayhem.  I cornered a cute, curvy blond who had the following to say, "This 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 chuckled and then said innocently,

"I'm really very gentle–with gentle people, that is." 

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

"I use a phase-shifting flange mixing technique 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.  I program music while performing-- I'm spontaneous but never random.  Now hear me on this: A DJ must program not be apathetic to the myriad of factors constantly unfolding and presenting. Think of driving.  You can be taught the skill but not the instinct and knowingness to do it right."

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'm intense, they say.  I am like a vessel with no origin and no destination.  I ever move but am here only for the moment.  And yeah I'm a little lost and screwed up like the rest of us, I suppose.  So yeah, I'm a little lost like the name says."

"Shit, are you okay, man?" I asked.

"Good as I'll ever be, I suppose," he said.

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 takes the DJ on a journey not the other way around." 

"A lot of the job is people watching, not jumping up and down, dancing in the booth like some of my dubious contemporaries.  Have good posture at all times 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 Marshall found his footing and began to rise.  In Providence, the DJ wowed crowds in this sleepy college town, promos in hand of Nu NRG, Trance, Techno, and Progressive house.  The young 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 the DJ.  They wanted men to come for each other not the DJ which led to problems ahead for me.  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."

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, Marshall 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.  Marshall continues to work on production with the musical legend.]

[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

Xth 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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