We Outside (prod. Ghosty)

Slow Down

Apple Music

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Voix Bruno
Instru. MAO J-luc
Master Phil

Demo 2021 Cover Une Bille De Verre En Mi (1991 Maxime Le Forestier) Collab Bruno & J - Luc

Ballerina

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Voix Cécile
Master John
Instru Mao J-luc

Demo 2021 Cover Bidonville (2009 Maurane) Collab Cécile John & J - Luc

Cover <a rel="license" href="http://creativecommons.org/licenses/by/4.0/"><img alt="Licence Creative Commons" style="border-width:0" src="https://i.creativecommons.org/l/by/4.0/88x31.png" /></a><br />Ce(tte) œuvre est mise à disposition selon les termes de la <a rel="license" href="http://creativecommons.org/licenses/by/4.0/">Licence Creative Commons Attribution 4.0 International</a>.

Voix & Master Bruno
Instru. MAO J-luc

Demo 2021 Cover Everybodys Got To Learn Sometime (1980 The Korgis) Collab Bruno & J - Luc

"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

i took to many drugs in Calabasas feat. Gxlke

The new release on ILUNA arrives with strength from Y.Y, an artist who blends raw minimalism with hypnotic groove in a three-track EP that perfectly captures the label’s dark and elegant essence. Each cut offers a different mood for the dancefloor, always rooted in an unmistakably underground identity.

Freaky (Original Mix) opens the EP with a hypnotic, penetrating bassline that drives a minimalist groove. It’s a track built to create tension and hold the crowd in a restrained yet powerful trip.

Exhile & Frolicsome step in for the remix, bringing their trademark punch and acid-tinged textures. Known for reworking artists such as D-Formation and Ziger, the duo transforms Freaky into a peak-time weapon, with heavy kicks and an extra dose of club energy.

Point Zero closes the release with Y.Y’s most introspective side. Dense atmospheres and a slow-burning progression guide the listener into a dark, emotional trance. It’s a track equally fitting to open a set or bridge moments of deep transition.

Together, these three cuts form a sonic statement: dark, elegant and uncompromising. With this release, ILUNA strengthens its position as a label devoted to authentic underground sounds that connect the dancefloor with a magnetic, ritual-like experience.

Y.Y - Point Zero [ILUNA]

Buy on bandcamp

Red Richards & Ben Arsenal - Control Me

Deep in the House

~An Interview with djPerdición~

Intense while replete with musical craft and guile, one of a kind djPerdición, nicknamed "The Villain", is a man's man DJ who hits the bullseye every time, utilizing music as concept.  Perdición continues to gain momentum, knocking off the competition, wielding tech beats to cut through nonsense and stimulate your senses by way of tact and a huge musical toolbox.  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", he admonished. "Get to know me, then you'll really be sorry," he chuckled and then said as he stubbed his cigarette: "I'm really very gentle–with gentle people, that is." 

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

"First, I spend a lot of time proofreading beatgrids.  Can't get your mix to match?  Check your beatgrids.  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]