The band's musical adventures first began in 1982 when McCarthy and Harris, along with drummer David Gooday, formed the group whilst still at school in Chelmsford. Listening to the likes of Abwärts, Neubauten, Malaria, DAF, Cabaret Voltaire, Killing Joke and Bauhaus among many others the boys began experimenting with synthesizers and samples culminating in the release of four singles on their own Power Of Voice Communications label (a joint venture with Pet Shop Boys producer Phil Harding) before Daniel Miller was impressed enough to sign them to his own label Mute.
Nitzer Ebb's debut album, 1987's brooding 'That Total Age', displayed a brutalist yet polished élan. Following the powerful opening singles 'Murderous' and 'Let Your Body Learn', the band's club reputation was truly secured with the release of 'Join In The Chant', which in a version remixed by Phil Harding, became a staple in Britain's acid house and techno clubs.
Having won over club-land the band turned their attentions to the live arena and at the invitation of label mates Depeche Mode, supported them on their huge Music for the Masses tour. Meanwhile original drummer Gooday departed to be replaced for live performances by Julian Beeston, whilst McCarthy and Harris returned to the studio with producer, Flood, to record the follow up to 'That Total Age' for the album that would eventually become 'Belief' and set in progress a highly creative partnership that would extend over four albums.
The new album once again retained the musical and visual aggression of their previous work. Yet 'Belief' also hinted at the band's growing ability to display a sense of wit, imagination and sheer caustic comment within their music. There were no sacred cows in terms of subject matter or indeed the band's merciless capacity for piss taking.
Upon its release 'Belief' not only attracted much domestic critical praise but also saw their stock rise in Europe. In part this was aided by the series of remixes provided by the band for the singles 'Control I'm Here', 'Hearts & Minds' and 'Shame'. Along with additional mixes by William Orbit they helped maintain the band's popularity in the clubs and encourage the burgeoning fascination in Europe with what was then known as EBM (Electronic Body Music).
In 1990 the band and Flood once again returned to the studio with every intention of upping the ante even further. The resulting album 'Showtime' showed further evidence of the band's progression, combining their trademark energy with a growing musicality that added menacing depths to tracks such as 'Getting Closer' and 'Lightning Man'. The album also spawned a most improbable, though brilliantly effective remix of 'Fun To Be Had' by George Clinton, the visionary behind two of the greatest freak-funk bands ever - Parliament and Funkadelic.
Arguably the success of this collaboration acted as a spur for the band's next release, the EP 'As Is'. This saw McCarthy and Harris working with four different mixers to reveal the different musical aspects at work within band. Their collaborators included Jaz Coleman of Killing Joke, a recording artist whose musical aggression was even more noted than their own, and Alan Wilder, then of Depeche Mode, who applied his noted production skills to enhance the melodic potential within the band.
It was this potential that the band sought to develop on their 4th album, 'Ebbhead'. Released in 1991 the album was a full-blooded affair and with Alan Wilder joining Flood in the production hot seat it was perhaps no surprise to hear the rich musical instrumentation now firmly part of the band's armoury. Any suggestion though that the Ebb were somehow softening up were blown away by the full on pulverising assault of 'Godhead', an assault that had by now successfully overcome audiences in the US.
Though it appeared that the main external battles had been won, the band were arguably now having to battle with the internal tensions that naturally had arisen following a decade sustaining an intense level of shared creativity. Four years in the making 'Big Hit' finally made the light of day in 1995. The diverse and experimental nature of the band was still there, and in the lead-off single 'Kick It', the Ebb showed that they could still easily conjure up those moments that would batter the listener into submission yet make it a strangely rewarding process at the same time. Unfortunately, the band's decicion to update their sound with grunge-inspired guitars fails throughout most of the album, as the big rock-styled choruses proved incompatible with the band's signature electronics. Once ahead of their time, but now left behind, Nitzer Ebb found their last release headed straight to the cutout bins.
The cracks that appeared between McCarthy and Harris during the making 'Big Hit'--as well as longtime producer Flood's inattentiveness to the group's material--proved to be decisive and shortly after its release it became clear that another album would not be forthcoming. In fact it would take seven years before the band could bring themselves to talk to each other. Perhaps it was this enforced silence that encouraged critics to reassess the precocious impact and originality of the band, as a number of subsequent artists lined up to cite them as a major influence, or less honourably, simply exploiting the Ebb's musical template for their own individual gain. Whilst such a situation may be a cause of great annoyance to most bands, the Ebb maintain a healthy level of stoicism. As they say, “That's the problem with being ahead of the game - the pioneers get the arrows and the settlers get the land.”
In the end of 2005 when the quantity of requests for new Nitzer Ebb live acts went beyond the limits McCarthy and Harris met to discuss the possibility of reunion. Since the beginning of 2006 they started to give concerts and since summer Nitzer Ebb are on reunion tour. A 2CD compilation of best tracks and a bunch of remixes "Body Of Work" was released in may and later, in july, a remixes album "Body Reworked" followed. For the tour Nitzer Ebb hired a new drummer - Kourtney Klein, mostly known for her work in CombiChrist. In august of 2006 it was officially confirmed that Nitzer Ebb are working on the new material. The recording actually started in March 2007. New record is going to be produced by british producer Jagz Kooner and should be issued, according to Douglas McCarthy, at spring 2008.
Getting Closer
Nitzer Ebb Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Getting closer, getting closer
Let them believe me
Let them wonder if I lie
Let them believe me
Let them wonder if I lie
Let them believe me
I know what you buy
But I'm not saying
I know what you buy
I'm not gonna try
You never take
You think that you're just right
You never did that just right
Is it good
Done for you
You're gonna miss out
Done for you
You're gonna miss out
Done for you
You're gonna miss
I've got to say that it hurts
I've got to say that it hurts
I've got to say that
One step, two steps
Getting closer, getting closer
Let them believe me
Let them wonder if I lie
Let them believe me
Let them wonder if I lie
Let them believe me
Let them wonder if I lie
I know what you buy
And it's wall to wall
I know what you buy
And you know just what you want
Just what you
Who said it matters
What's missing
You're gonna miss it
Who said it matters
What's missing
You're gonna miss it
Who said it matters
What's missing
You're gonna miss it
I've got to say that it hurts
I've got to say that it hurts
I've got to say that
The lyrics to Nitzer Ebb's song Getting Closer touch upon themes of deceit, power, control, and manipulation. The repetition of "Let them believe me, Let them wonder if I lie" suggests that the singer is trying to maintain some sort of facade or lie to those around them. The lyric "I know what you buy, But I'm not saying" could be interpreted as the singer having some sort of power or control over the person they are addressing. They know something about them, but they choose to keep it to themselves, which further adds to the manipulation and mind games that the singer is playing.
The line "You never take, You think that you're just right" could be interpreted as the singer accusing someone of being arrogant, thinking they know what is best for themselves without considering the thoughts or feelings of others. The subject of the song seems to be someone who is selfish and only thinks of themselves. The lyric "Is it good, Done for you" could be interpreted as the singer questioning whether the selfish actions of the subject are really worth it in the end.
The repetition of "You're gonna miss out, Done for you, You're gonna miss out" could be interpreted as a warning to the subject. The singer is telling them that their actions will have consequences and they will ultimately regret it. The repeated line "I've got to say that it hurts" adds a layer of emotion to the song. The singer seems to be hurt by the actions of the subject, but it is unclear whether they are hurt by the subject's selfishness or by the fact that they are manipulating them.
Line by Line Meaning
One step, two steps
I am making progress, moving forward.
Getting closer, getting closer
I am getting closer to my goal, steadily but surely.
Let them believe me
I want others to trust me and have faith in me.
Let them wonder if I lie
I want others to question my intentions and whether or not I am telling the truth.
I know what you buy
I am aware of your actions and your habits.
But I'm not saying
I choose not to reveal this information.
I'm not gonna try
I have no intention of changing you or influencing your choices.
You never take
You never consider or accept new ideas or perspectives.
You think that you're just right
You believe that your own opinions and actions are always correct.
You never did that just right
You have never done anything perfectly or without flaws.
Is it good
Are you satisfied with the results of your actions or decisions?
Done for you
I have completed something for you, but you may not appreciate it or recognize its value.
You're gonna miss out
You will regret not taking advantage of what I have to offer.
I've got to say that it hurts
I am experiencing emotional pain or disappointment.
I know what you buy
I am aware of your actions and your habits.
And it's wall to wall
You are completely surrounded or consumed by this behavior or habit.
And you know just what you want
You are fully aware of your desires and preferences.
Who said it matters
I am questioning the importance or relevance of something.
What's missing
Something is absent or lacking.
You're gonna miss it
You will regret not having this missing or absent thing.
I've got to say that it hurts
I am experiencing emotional pain or disappointment.
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
Doug Fisher
1989, Jacksonville N.C... Harvey's...slamming to Nitzer Ebb, Skinny Puppy and Front 242! This was THE song that we always waited for, and then got kicked out for slamming too hard! We were just a group of young Marines blowing off steam, and this was one of the best times of my life.
Aaron Mills
1990 Orena in Orlando with Depeche Mode.
Angel Wild
I love all the bands you mentioned, Doug!! I’ve been a fan of all of them since I was 14 til this day!! Fucking seriously bad ass music!!💪🏻🍾🤩🎉🎵🥰✌️🦉
mike sisca
1990...saw them in San Diego with my Marine buddies. Pit was crazy!
Sebastian Wiers
Good trick getting kicked out of a club in 1989 by dancing to a song released in 1990. ;)
The Dali Llama
I thank God I came of age in the 80s. We got to go through so many good genres of music.
Vanessa STARS
The 50s through the 90s were best because so much new music technology was coming out, so all genres were experimenting with sounds - we were the guinea pigs. I was never so glad to be a guinea pig! Even rap/hip hop were fun back then because it was so experimental. 😊
Astra V
This brings back memories of my college years. I saw them live several times. Good Times! Thanks for posting this!
RLee Roberts
MY GOODNESS YOU ARE BEAUTIFUL !
Astra V
@RLee Roberts Thank you!