Lords of Acid: Deep Chills

Just when you thought they were gone, Belgian electro-industrial artists come raging back with their first new album in over a decade… Much like herpes.

Lords of Acid

Deep Chills

Label: Metropolis
US Release Date: 2012-04-10
UK Release Date: import
Label Website
Artist website

Belgian producer Praga Khan and his menagerie of well-lubricated sex maniacs have been at this electro-industrial thing for over 20 years. True to form, the palette used for Deep Chills, their first album since 2001's Farstucker, would not surprise anyone who was blown away in 1991 by "I Sit On Acid" or scared orgasmic in 1994 by their gold record selling VooDoo-U. In many respects, that's totally fine.

Lords of Acid are legends in the scene. They can't get too far away from what they're known for, which is heavy, industrial tinged electronic music in a variety of styles, matched by a lyrical obsession with the tried and true themes of sex and drugs.

As such, though Deep Chills is a new release, much of it already sounds a little dated, if not recycled. The stadium rock guitar sound in "Sole Sucker" and "Drowning In Ecstasy" is the same all over tracks like "Young Boys" and "The Crablouse" from VooDoo-U. "Drowning In Ecstasy" also has a stripped down version of the 303 line from Josh Wink's classic "Higher State Of Consciousness (Original Tweekin' Acid Funk Mix)" when it starts to go off at the end of the classic aceeed rager. Featuring porn star Alana Evans on vocals, "Pop That Tooshie" is fairly speed garage like, with a warping bassline, Tone Lōc "Funky Cold Medina" guitar punch, and 808 percussion.

"The Love Bus" is the kind of electro drum & bass that John B used to make, with a little surf rock flare on the guitar. With Zak Bagans on vocals, "Paranormal Energy" starts off as a working of "Simon Says" by Pharoahe Monch, but elevates to a punchy breakbeat track with traces of glitch. Most obviously referencing the old, the cover and title of Deep Chills are a throwback to Big Brother & The Holding Company's classic 1968 album Cheap Thrills.

Yet, there are clear and admirable attempts to update their sound. Praga Khan has stepped up his game in the beats department. This is, undoubtedly, the best produced Lord of Acid album ever made. It's pert near pristine.

Aside from the Pharoahe Monch parody, "Paranormal Energy" contains some crisp contemporary drum & bass transitioned by tasteful glitch. "Long Johns" is straight up, raunchy electro house that wouldn't be out of place on a Deadmau5 mix. It's chorus "Daddy has a secret / He wears lingerie" is a guaranteed conversation starter for your next family outing. "Sole Sucker" shows a flash of dubstep's ubiquity with its lumbering beat and sawtooth lead, while "Slip 'n Slide" is the probably the most suiting track to ever be called twee-as-fuck.

"Children of Acid" sounds like the kind of goa-trance Infected Mushroom or Juno Reactor would have been all over in Y2K, with its driving 4/4 beat, hi-hat and snare on opposite beats, that sweet 303 squelch, and the repeated verse "We are who we are / Acid children of the stars / Rave on." This is a song about their dedicated cult following of the same name, the Children of Acid, who kept the LoA candle burning through all the lean years of the past decade. It's clearly more developed than "Lucy's F*ck*ng Sky" from Farstucker.

There are some real misses on the album that negate most of the positive developments made elsewhere. "Hot Magma" is one of the greasiest songs ever, thanks to its "I'm gonna fuck you / I'm gonna fuck you up" refrain. Ode to an 11-inch vibrator, "Little Mighty Rabbit" was an odd choice for the album's first single, as the track doesn't really go anywhere, and the lyrics are oddly straightforward. It's seems fairly tame compared to their hits, though KMFDM gave it more depth with their remix (available on the single release). "Mary, Queen of Slots" is a generally off too, with a bland chord progression and obvious production, while Ron Jeremy ode "Surfin' Hedgehog" is a straight-up surf rock tune a la The B-52s, but not quite as catchy as the masters of the genre.

For the most part, though, the legendary Lords of Acid hit the right mix of humorous and oddly insightful lyrics, full of sex sigils and drug references, with top class Praga Khan instrumentals. The thing is, though, when Lust came out in 1991, the world was still somewhat on the repressed side. The big pop hits of the day were represented by the likes of "Gonna Make You Sweat (Everybody Dance Now)" by C&C Music Factory and "I Wanna Sex You Up" by Color Me Badd. The brazen eroticism of Lust was quite shocking, and it tapped into the side of club music that was bored of vaguely sexual metaphors and nondescript sex pleadings.

In 2012, we live in a post-Jersey Shore/Paris Hilton age. The world caught up and, in many cases, surpassed the aesthetic sensibilities of Lust. Earth is totally DTF and loves to "get it in" whenever possible. Yet, Lords of Acid's lyrics have not kept pace with inflation. There isn't anything on Deep Chills that out-kinks VooDoo-U tracks like "The Crablouse" (an cautionary tale of public lice) and "Young Boys" (an ode to young boys from an adoring older woman). As such, Deep Chills will certainly be enough to satiate the Children of Acid, but it's not likely to get much notice elsewhere.


The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

Keep reading... Show less

Electronic music is one of the broadest-reaching genres by design, and 2017 highlights that as well as any other year on record. These are the 20 best albums.

20. Vitalic - Voyager (Citizen)

Pascal Arbez-Nicolas (a.k.a. Vitalic) made waves in the French Touch electro-house scene with his 2005 debut, OK Cowboy, which had a hard-hitting maximalist sound, but several albums later, Voyager finds him launching into realms beyond at his own speed. The quirky, wallflower vocals and guitar snippets employed throughout Voyager drop a funk that brings to mind WhoMadeWho or Matthew Dear if they had disco-pop injected between their toes. "Levitation" is as pure a slice of dance floor motivation as theoretically possible, a sci-fi gunfight with a cracking house beat sure to please his oldest fans, yet the album-as-form is equally effective in its more contemplative moments, like when Miss Kitten's vocals bring an ethereal dispassion to "Hans Is Driving" to balance out its somber vocoder or the heartfelt cover of "Don't Leave Me Now" by Supertramp. Voyager may infect you with a futuristic form of Saturday Night Fever, but afterwards, it gives you a hearty dose of aural acetaminophen to break it. - Alan Ranta

Keep reading... Show less

Hitchcock, 'Psycho', and '78/52: Hitchcock's Shower Scene'

Alfred Hitchock and Janet Leigh on the set of Psycho (courtesy of Dogwoof)

"... [Psycho] broke every taboo you could possibly think of, it reinvented the language of film and revolutionised what you could do with a story on a very precise level. It also fundamentally and profoundly changed the ritual of movie going," says 78/52 director, Alexandre O. Philippe.

The title of Alexandre O. Philippe's 78/52: Hitchcock's Shower Scene (2017) denotes the 78 set-ups and the 52 cuts across a full week of shooting for Psycho's (1960) famous shower scene. Known for The People vs. George Lucas (2010), The Life and Times of Paul the Psychic Octopus (2012) and Doc of the Dead (2014), Philippe's exploration of a singular moment is a conversational one, featuring interviews with Walter Murch, Peter Bogdanovich, Guillermo del Toro, Jamie Lee Curtis, Osgood Perkins, Danny Elfman, Eli Roth, Elijah Wood, Bret Easton Ellis, Karyn Kusama, Neil Marshall, Richard Stanley and Marli Renfro, body double for Janet Leigh.

Keep reading... Show less

The Force, which details the Oakland Police Department's recent reform efforts, is best viewed as a complimentary work to prior Black Lives Matter documentaries, such 2017's Whose Streets? and The Blood Is at the Doorstep.

Peter Nicks' documentary The Force examines the Oakland Police Department's recent reform efforts to curb its history of excessive police force and systemic civil rights violations, which have warranted federal government oversight of the Department since 2003. Although it has its imperfections, The Force stands out for its uniquely equitable treatment of law enforcement as a complex organism necessitating difficult incremental changes.

Keep reading... Show less

Mary Poppins, Mrs. Gamp, Egyptian deities, a Japanese umbrella spirit, and a supporting cast of hundreds of brollies fill Marion Rankine's lively history.

"What can go up a chimney down but can't go down a chimney up?" Marion Rankine begins her wide-ranging survey of the umbrella and its significance with this riddle. It nicely establishes her theme: just as umbrellas undergo, in the everyday use of them, a transformation, so too looking at this familiar, even forgettable object from multiple perspectives transforms our view of it.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 All rights reserved.
Popmatters is wholly independently owned and operated.