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.