Lords of Acid
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Lords of Acid

Herselt, Flanders, Belgium | INDIE

Herselt, Flanders, Belgium | INDIE
Band EDM Alternative


This band has not uploaded any videos
This band has not uploaded any videos



"New York Times"

Published: August 15, 1995

It was a joke, an art project, a rave, a sex club and a shallow gimmick all rolled into one leather-clad lump when two electronic dance-music bands, Lords of Acid and My Life With the Thrill Kill Kult, performed on Thursday night at Roseland. Billed as the Sextasy Ball, the concert explored the dark side of Lollapalooza, with slide shows of art that Senator Jesse Helms doesn't like, topless dancers, S-and-M shows, videos of violent films, a body-piercing booth and stalls selling everything from industrial-music records to rubber brassieres.

Not surprisingly, the tour has been plagued by trouble since it began in June. Slides of artwork by Andres Serrano and others have been confiscated as pornography and dancers have been arrested for indecent exposure. On Thursday, however, the Sextasy Ball took place without a noticeable hitch.

Other than speeding up their music and adding guitars to their sound, Lords of Acid haven't changed much since they released their first single, "I Sit on Acid," in 1989. Probably the best-known song of the Belgian dance music known as new beat (a precursor to techno), "I Sit on Acid" is simple but effective, a flurry of pumping keyboards and shifting pitches locked into a loop of a female voice singing lascivious one-liners. On Thursday, the group's one-line lady was Ruth McArdle, or Lady Galore, who performed as if she were a doll with a pull-cord that made her speak recorded come-ons.

The key to the Lords of Acid performance was the set of devil's horns that Lady Galore and all the female dancers on the stage wore. The message was clear: in the band's musical world, women exist only as tempting portals to sin. It is this same B-movie female ideal that informed the music of My Life With the Thrill Kill Kult, a seven-year-old Chicago band that has one important thing in common with Lords of Acid: both bands released a concept album about sex in 1991.

On record, My Life With the Thrill Kill Kult is one of industrial dance music's more interesting bands, with evocative film and television samples tucked strategically into a bed of disco beats, funky bass lines and growling vocals. But live, the group failed to convey its originality. Three female back-up singers and three male musicians played along with muddy backing tapes as Groovie Mann let his chest muscles ripple and snarled and rapped his way through trashy topics like stray teen-agers, wild road trips, devil worship and "sex on wheels." By the end of the night the word sex had been stripped of all its meaning, conjuring as much concupiscence as a court summons. - Neil Strauss


Lords of Acid
By Susan Derby
Published on March 08, 2000
Belgium's techno sex-vangelists Lords of Acid have been creating havoc ever since their first single, "I Sit on Acid," hit the streets in 1988. Sure, they've aged a bit, but the group's latest potty offering, Expand Your Head -- a "best of" collection of tracks remixed by stalwart talents like Richie Hawtin, Frankie Bones, Robbie Hardkiss, and KMFDM -- nevertheless comes as a warning: The Lords of Acid are still around, and they're not shutting up yet. The current American tour (their seventh) won't just shock and delight with standards like "Rough Sex," "Pussy," and "Crablouse," it will also turn the spotlight on Lords member Praga Khan. Khan, aka Maurice Engelen, has been part of the group since its raunchy beginning. While his career history includes the successful side project Digital Orgasm in the early '90s, and the production alias the Immortals (with bandmate Oliver Adams), Khan hasn't neglected his perverse duties with the Lords, especially not on 1997's Our Little Secrets, on which he indulged in tales of masturbation and genitalia (both human and, um, alien).

The Lords of Acid serve up libidinous techno at the Maritime Hall this Sunday.
The Lords of Acid serve up libidinous techno at the Maritime Hall this Sunday.

In recent years, Khan has put more energy into solo work, and his latest release, Twenty First Century Skin, is more in line with his dance music contemporaries. Sexuality is still a major theme ("Virtual masturbation, toxic love; orgasmic stimulation, mental love"), but Khan also gets introspective on tracks like "Isolation," "Lonely," and "What's Wrong With Me?," giving the unrelenting techno a little more substance.

This tour marks Khan's first solo appearance on the same bill with the Lords of Acid, but it's the Lords themselves -- Khan included -- who are behind Sunday night's grind-friendly, unabashed party. Among the moans and groans and the purrs and hollers expect to hear sleazy beats that will make you dance in your leather pants. Praga Khan and U.K. drum 'n' bassers Genaside II open the show at 8 p.m. on Sunday at the Maritime Hall, 450 Harrison (at First Street), S.F. Tickets are $20; call 974-6644. - SF Weekly


Lust - Caroline
VooDoo-U - American Recordings
Our Little Secret - Never Records
Heaven Is An Orgasm - Never Records
Expand Your Head - Never Records
Farstucker - Fingerlickin' Good Records
Private Parts
European Greatest Hits Album - EMI Records
Greatest T*ts
US Greatest Hits Album CD - Sanctuary



While it seems implausible, Lords of Acid have not always been the mega-cool super cult we know and love. Yes, there was a time where they were not the bulwark of sex, substance, style, and nether-darkness. There were simpler, more innocent times ...

Back in the primitive days of yore - somewhat after the waterwheel was brought to Europe, a uniquely gifted group of somehow different, yet fated, individuals were brought forth onto The Continent - as they called it then - by an unknowing group of parents.

Maurice Engelen, whom we all know better as Praga Khan, was born to a father who was a Noble winning mathematician and astrophysicist, with a penchant for absinthe, along with strange, skunky cigarettes. Yes, Mom was there, too! And what a mom! Praga's mother was a rebel for her times and worked to support the family as a migrant construction worker.

Praga's fascination with industrial sounds and rhythm laid its entwined roots in his early childhood while strapped to his mother's back as she performed her welding work in buildings towering high above the earth, echoing with the sounds of jackhammers, big trucks burrowing, and the soulful singing of the workers. Its harkening thought today still brings tears to his eyes.

His father passed to his son his fascination with numbers and alternate realities. Praga notes being to many different worlds during his travels. He understands his music, when he can be coaxed into an explanation, to explore varied perceptions of the mathematical impossibility of two objects being in the same time, place, and dimension. He attributes a correct comprehension of the harmonic convergences implied in their musical themata, to be a key in the explanation of the freak and random disappearance of a number of noted Lords enthusiasts. (The suits being pressed have been settled, though. It was Marilyn Manson, not the Lords. And they were nowhere near Colorado.)

Nikkie Van Lierop, as everyone knows, "Darling Nikkie" - or "Nikkie Darling" in Japan, came from a family decanted from the glory days of the Imperial Russian court. It is believed that her father was the illegitimate offspring of the scourge of Moscow - perhaps all Russia, Rasputin. Her mother was one of the foremost followers of Helena Petrovna Blavatsky. It is felt that Nikkie's unusual powers of persuasion and animal magnetism derived from that genetic matter imbued with the superhuman abilities manifested by Rasputin, and that her mother provided the insight and experience in guiding her development.

Following what was recounted to her as being a slight matter of family, her family quietly, but hurriedly, slipped out of Mother Russia in the very tender years of her infancy, so she remembers little of its regal flame. She grew up amidst the Belgian countryside, learning its language and customs. As she entered her early teens she became increasingly headstrong, and equally obsessed with the sexual darkness that was - Mick Jagger. Following a major brouhaha with her family and the sound of her heart, she set off to London in search of him. Unfortunately, Mick had found Bianca and was in the midst of their big American tour. This was how Nikkie ultimately found herself a regular of King's Road and became one of the reigning queens of the punk scene. If you can name them - she was with them. Yes. All of them. She took up music, forming several high profile, glorious, but ultimately failed bands, X-Rated Specs, The Sex Pistils, and The Talking Head. As Punk turned to New Wave, enchantment turned to disgust and she found herself returning home to Belgium to start her own scene and do further bands.

Oliver Adams, whom we all know as Oliver Adams, is the heir to the Stella fortune. Stella, being Belgium's premium connoisseur brew, has been exported throughout the world. So has Oliver. Oliver's childhood, too, was an unusual one. His parents, ever vigilant against the perils of war, took up residence beneath the earth. They seized upon a project of burrowing deep into the earth's bowels and, using layers of aging tanks for their beer, built an airtight underworld infrastructure, the inside of which they inhabited during most of his younger years. His mother was a master pianist and their hutch regularly resonated with the eerie sounds of her piano or clavinet echoing throughout the long empty metal halls. His father, Lorre Adams, because of his profile and note as a world traveler, was sought out by the Belgian ruling council to act as a surreptitious examiner of foreign evils - in short a spy on behalf of the Belgian King.

Due to his family's prominence and his father's not so covert activities, Oliver and his twin brother Ferdy, were abducted several times during Oliver's rise to young adulthood. When Mother, as he so lovingly nicknamed her, began losing the battle with age, Oliver determined it was best to sprout wings and leave the roost so as not to be a source of leverage against his wearied family. Fo