Perdición translates to "perdition" or "ruin," and it's a strong, dramatic word not commonly found in everyday conversation or every song. It carries a sense of ultimate downfall or destruction.
In "Miel Con Licor," Christian Nodal uses perdición to describe the intoxicating yet destructive nature of a love that, despite its bitterness and potential for ruin, he cannot resist. He sings, "Y es que, aunque me sepas a perdición, yo te tomo completa," meaning "And even though you taste like perdition to me, I take you completely." This highlights the song's central theme of a love that is both sweet and bitter, alluring and dangerous.
Nodal builds the whole song out of one taste. Love, he decides, "Sabe a miel con licor" (it tastes like honey with liquor), and the two halves never come apart: the sweetness is what makes the burn worth swallowing. The list grows as the verses go on, "A otra botella ya sin ganas de tomar" (like another bottle you no longer feel like drinking) and "Y a besos viejos que se cansan de mentir" (and old kisses that get tired of lying), until the relationship is something he keeps drinking long after he stopped enjoying it.
What hurts is that he saw it coming. "A que un día vas a irte / Y yo estaré muy triste" (that one day you will leave, and I will be very sad) arrives in the first verse, in plain words, before anything has actually gone wrong. The bluntest line is the most casual one: "La neta, es que me estoy cansando" (the truth is, I'm getting tired). And then he stays anyway. "Y es que, aunque me sepas a perdición / Yo te tomo completa" (and even though you taste like ruin to me, I drink you down whole) is the mariachi equivalent of ordering one more, and the last chorus quietly swaps the organ it ruins, from the heart to "que me amarga la razón" (that turns my reason bitter).