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 (31): 'Shaman Through Situation' Findings/Notes Update

Perdición Library Audit (32): 'Something Through Stereo' Findings/Notes Update

Perdición Library Audit (32):  'Steve Through Sub' Findings/Notes Update

Perdición Library Audit (33):  'Steve Through Sub' Findings/Notes Update

Perdición Library Audit (34): 'Superstar Through That' Findings/Notes Update

Perdición Library Audit (35): 'The Accuser Through The Flash' Findings/Notes Update

Perdición Library Audit (37): 'The Darkness Through Tremors' Findings/Notes Update

Perdición Library Audit (38): 'Trespass Through Under' Findings/Notes Update

Perdición Library Audit (39): 'Under Through Weiss' Findings/Notes Update

Perdición Library Audit (40): 'Weiss Through Zing' Findings/Notes Update ***Audit Completed***

My debut release!
I put a lot of work into making an EP because I wanted to show the world what type of music I'll be making, to show off different perspectives and mainly my writing abilities, but I didn't want to release too much because I still have some sauce on the way.

CHERRY HILL - Cherry Bliss (Official Track)

[Credit]

 1. Rock the world - A-TEN(에이텐) *Title
   Lyrics by A-TEN
   Produced by B_zo
   Mix & Master B_zo

 2. Pump up(feat.B_zo) - A-TEN(에이텐)
   Lyrics by A-TEN,B_zo
   Produced by B_zo
   Mix & Master B_zo

 3. I'll never die -A-TEN(에이텐)
   Lyrics by A-TEN
   Produced by B_zo
   Mix & Master B_zo

Rock The World

[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–like a tumbling avalanche or frightening tornado.  Despite the DJ's nightly gambits and other plotting, you'll have the time of your life and be "beaten" to within inches of it.

It was hard to maneuver my way through the Rites Ball 2021 NYC pre party mayhem.  I held out a fifty and cornered a cute, curvy blond who had the following to say,

"This DJ has a mean streak as wide as the Grand Canyon.  He takes you on a 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 who makes good on his threats."

"What?" I asked.  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 rarely use sync, it fucks up the sound.  I program music while performing-- I'm spontaneous but never random.  Let me be clear, a DJ must program not be apathetic to a myriad of factors constantly presenting. Think of driving.  You can be taught the skill but not the instinct and knowingness."

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 was hanging out with a friend from Columbia, brainstorming.  I (Perdición) am like a vessel with no origin and no destination.  I ever move but am not really there.  My dance floor is a means to the only place one can go.  That is within.  And the name sounded cool at the moment, he smiled.  Max and I had a good laugh about it."

David'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.  I loved it of course but I don't have a shred of evidence I ever worked there because they never billed the DJ."  Everybody said my bosses were assholes but funny, I was the one with the gig.  In retrospect, I think they all really just wanted me to fail and get my job.

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.


[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]

Perdición Library Audit (35): 'The Accuser Through The Flash' Findings/Notes Update

djPerdición

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