THE MEDULLARY PARALYSIS
專輯：We Don't Drink, We Don't Take Drugs, We Don't Have Sex, We Feel Compassion
在2010年6月12日，The Medullary Paralysis給香港觀眾帶來一個難忘的晚上，畢竟意大利樂團、工業搖滾和cyber-glam，三者都是這個小城市難得一遇，再者四十五分鐘演出過程，每分每秒都充滿魅力。隨團而來還有他們的首張EP。
沒有看錯，《We Don't Drink, We Don't Take Drugs, We Don't Have Sex, We Feel Compassion》除是團員中心思想，也是這EP的名稱，比好些後搖滾作品名字更長更繞口，如果封面上見不到三人舞台造型，更會誤會是張straight edge系hardcore唱片。美術跟表演服飾一致，執著於對紫和白兩種主題色的癡迷，內裡像張Moby專輯，沒「特別鳴謝」之類太多平常唱片見到的內容，僅簡約寫出2007年開始兩年多間一些成就，還有生活與音樂信念，以及創作靈感來源。像份旨在分享藝術精神和自身哲學的紀念品，多於為賣錢的商品，正是這EP讓人感動之處。
收錄三曲中，第一首《Compassion on the Dance Floor》點題說出樂團的音樂和演出：以九十年代Marilyn Manson派電子搖滾，帶動台上台下一同亢奮，同時是專輯大方向，利用合成器、結他和軟件築起音牆，配合激烈電子節拍，就是他們的舞曲音波攻擊。充滿十足活力，難怪參加表演和比賽皆大獲好評，只是有時此長處卻成負累，豐富層次反使主題不夠鮮明，隨便聆聽的話《Fashion Slave》最突出因為步伐較慢，《Compassion on the Dance Floor》和《Heaven Forbid》同樣快而緊密，一時間未必會立即辨清各自特色，站在唱片角度，耐聽性可再提昇。
但這EP完成於成團一年多，都是較早期作品，現在演出曲目已趨多元和成熟。Marilyn Manson外的參照對象還有The Smashins Pumpkins與Tears for Fears，此兩者痕跡在新曲中明顯得多，在台上歌手的表演和聲線有時也令人想起Billy Cogan，在三者中找到平衡，就不會顧此失彼，能同時以感官衝擊和冰冷氛圍使聽者麻痺。
Album: We Don't Drink, We Don't Take Drugs, We Don't Have Sex, We Feel Compassion
Label: indie recordings
Genre: Industrial Rock
The Hong Kong crowd would like to thank The Medullary Paralysis for giving a great night on June 12 2010. Italian origin, industrial rock and cyber-glam are all things rarely seen in this town. Besides a magnificiant performance that was enjoyable for every moment, the band also brought along their debut EP "We Don't Drink, We Don't Take Drugs, We Don't Have Sex, We Feel Compassion".
There is no mistake or typo. That's the band's motto, also how the EP was named. So it has a title even longer and wordier than many post-rock work. And if without images of the three members on the cover, you are not blamed to conceive it as a straight edge hardcore album. The fascination with white and purple of their stage fashion code is also present in this gatefold digipak. What was written could easily remind you of Moby: no usual context like big "special thanks" columns found in typical albums, but just a brief recap of achievements since 2007, personal beliefs and philosophies, and sources of artistic inspirations. More like a piece of memorabilia as well as artistic and emotional expression, instead of some merchandise simply made for money. That's why it is touching.
The first track of the three, "Compassion on the Dance Floor", literally and muscially informs what the band is about: using the nineties Marilyn Manson industrial rock to excit everyone in the house. Also is it the way of the whole album. Build a huge wall of sound by synth, distorted guitar and programming, add some powerful drum loops, then you get the M.P. Dancebeat Sonic Attack. The songs are highly energetic so it is not surprising they are highly acclaimed in concerts and contests. However their strength could also bring them down when misused; the very rich textures sometimes overshadows the themes. To casual listeners "Fashion Slave" may be the most prominent as it takes on a slower tempo. The other two, "Compassion on the Dance Floor" and "Heaven Forbid", are both fast and aggressive. Which might not be instantly distinguishable enough on the first few spins.
Yet the EP was finished at the end of their year one. The new songs as played in the recent concerts are more mature and promising. In the digipak liner notes The Smashins Pumpkins and Tears for Fears were also hailed as enlightenments next to Marilyn Manson. While their influences are pretty obscure in the EP, surely the new writing direction incorporates more essences of them. Actually at times the singer's voice and manner recall Billy Cogan. Finding the perfect balance of the three, then the band can paralyse listeners not only by sensational concussion but also comfortably numb sedation.