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

PERDICIÓN: After Hours Tech Circuit #1

"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

These are some of my remixes in the idea of a remix service like the previous remix services did.  They are very rough but I thought they had some merit and were worth posting.

Redemption Series Closing Set: Perdición's Remix Service Tribute

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 (1): A Through FL(Album) Session Findings/Notes Update

Perdición Library Audit (12): 'Dark Through Dime'  Findings/Notes Update

Perdición Library Audit (14): 'Energy Through Faith' Findings/Notes Update

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

Perdición Library Audit (18): 'Haus Through Hit' 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: NAKED PREMIERE--Splash Revival 'Get Undressed' Welcome Tea

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 #5: Breakout Thru Closer

Perdición Library Audit #6: Come Back Thru Dark Sunset

Perdición Library Audit #7: Datt Ditty! Thru Dreams

Perdición Library Audit #8:  Drop Thru Essential

Perdición Library Audit #9: Audit Every Little Piece Thru Feel It

Perdición Library Audit #9: Every Little Piece Thru Feel It

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

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

Perdicion Library Audit - - Groove And Drums Thru IUrseless

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

Perdición Library Audit 'In Twos' Thru Jara Swai

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.

PERDICIÓN PREMIERE

Introduction: djPerdiciòn

Introduction: djPerdición

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

A Tribute to Mandance Sundays @ Ramrod Boston '91-'97

Perdiciòn: Knight in Motion: Sessions Volume Four

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

Hello Twilo-goers and PERDICIÓN friends and fans!

The writing of this is both a very joyous and thought-provoking occasion.  Joyous because we're revisiting a legendary super club and ominous because we lost a former member of our clubland community on Christmas day- NYC club promoter Michael Alig.  I will not confirm or deny any personal feelings regarding his life or death.  Needless to say, he will be missed by some but not by all.  It is a gross understatement to say that Michael Alig was controversial.  He brought 'extreme' visibility to gay club life and both boosted and damaged gay scene credibility while simultaneously doing harm to others, leading to his manslaughter conviction and imprisonment for 17 years.  For more information on Michael Alig, I suggest the movie "Party Monster", the documentary "Daze of Glory" and Michael Musto's writing in "The Village Voice".  Rest in peace, I guess.

I hope you've been enjoying the promo.  We've had a great response to it.  Now it's show time!  Welcome back, PERDICIÓN fans and followers!  Did you find your X-stacy?  Just don't do too much!  Thanks to the DJ's of Twilo who have inspired me and who brought pleasure to many listeners and dancers:   John Digweed, Paul van Dyk, Carl Cox, Robert Fauver, Richie Hawtin (aka Plastikman), Danny Tenaglia, Merritt, Jeff Mills, Steve Lawler, Paul Oakenfold, Pete Marvelous, Pete Tong, DJ Dan, and Sven Väth, and Saturday night resident DJ, Junior Vasquez.  DJ John Digweed once said, "It's definitely one of those legendary clubs that if you didn't get a chance to go, it was definitely a shame, because the sound system, the setup, the lighting, and the whole vibe was truly amazing."

Regrettably, I wish I had played that Phazon state-of-the-art sound system!  That's why I'm doing this series, "TWILO FOREVER".  This is my way of imagining what it would have been like today.  Additionally it's an encomium to clubland for its quick return.  There was a Twilo in Miamai that happened a few years after Twilo in NYC but let's do one Twilo at a time!  Twilo's doors were open from 1995-2001.  The story goes that the club was eventually closed due to an expired "certificate of occupancy".  Obviously, great club equals 'lot's of drugs'.  Ecstacy was big back then and there were 2 deaths from it at Twilo (that we know of).  One was dismissed from club liability because the drugs were not purchased at Twilo.  People please: Do not buy your drugs at your destination club because if God forbid you die, you're taking that club with you.  No joke.  Then there's a story about private ambulances used by Twilo to deal with sick people.  Who knows?  One way or another, Giuliani and his henchman were determined to close Twilo (as they did Splash bar and others) in the name of cleaning up New York City.  But then again greed tends to be the ultimate demise of these things, and authorities are the maggots that help with the disintegration.

But for now, let's focus on the good.  It's almost New Year's Eve 2020.  What are you doing, my good children?  I know everything's closed but that doesn't mean you can't be joyful.  Like one of my recent tracks on "Evolve NYC 2021, set #4"...

"Drink, dance, fuck, smoke a little bit...."

Thanks for your listening, support, and kind words.  I hope I one day have the honor of playing music for all of you at NYC's next super club!

HAPPY NEW YEAR! 

XOXO,
Always,
djPerdición

PERDICIÓN: TWILO FOREVER: OPENING NIGHT

[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.

"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. Think of driving.  You can be taught a 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 should take the DJ on a journey."  A lot of the job is people watching not jumping up and down like John Travolta like some of my dubious contemporaries.

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.  There, 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.  They all really just wanted 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 drastic 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]

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