Formed in Chelmsford, UK when main protagonists Douglas McCarthy (vocals) a… Read Full Bio ↴Formed in Chelmsford, UK when main protagonists Douglas McCarthy (vocals) and Bon Harris (drums, programming) were just 15, Nitzer Ebb cut a dynamic swathe through the electronic music and Balaeric beat scenes of the 1980s and 90s. They were electro-punks before the genre even existed, at a time when The Prodigy were not even a gleam in fellow Essex boy Liam Howlett's eye. Militaristic, intimidating yet always accessible, Nitzer Ebb enjoyed a string of ferocious club hits and released five critically acclaimed albums on Mute. From their first-ever single, 1984's 'Isn't It Funny How Your Body Works' through to their final 1995 single 'I Thought', they were a band whose honed aggression, originality and precision were impeccable.
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.
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.
Isn't It Funny How Your Body Works
Nitzer Ebb Lyrics
We have lyrics for these tracks by Nitzer Ebb:
03- control i'm here control i'm here we close our eyes close them in your dream…
09- fun to be had Two and one, making three Intertwined like the links that ma…
09. Warsaw Ghetto Well, who's missing the years? Crying catastrophe Escaping o…
Alarm Alarm No good, no gore, no more, no way No good, no…
All Over You've gone all over, big time to save her You've gone…
Ascend I first saw you Without love and then you knew Your fingers…
Backlash We say eternal Not true Don't loosen up Sucking out the e…
Blood Money Thou take your dreams away Thou take your dreams away Thou t…
Border Talk I was in a van A cold day in January stopped…
Captivate twa 847 surrender faith surrender pain feel the lies skin h…
Cherry Blossom Cherry blossom is falling Cherry blossom is on its way out H…
Come Alive Come on Wake up, wake up, wake up your heart…
Control control i'm here we close our eyes close them in your dream…
Control I'm Here (Command Control Confront Mix) We close our eyes Close them in your dreams I'm here to…
Control Im Here control i'm here we close our eyes close them in your dream…
Crane Here comes that man again Coming with his gun again Coming…
Djvd I'm looking 'bout and I'm listenin' good I used to dance…
Down On Your Knees One more chance Nothing to lose One last breath It's your…
Drive Are you getting dragged in Sacrifice Take it to the top Take…
Family Man Family man He's a family man, his wife laments Never broken…
Fitness To Purpose In the battle, in the bed In the battle, in…
Flood Water There was something in the way that the day broke thunder…
For Fun are feelin dragged in sacrifice take it to the top take you…
Fun To Be Had Two and one, making three Intertwined like the links that ma…
Getting Closer One step, two steps Getting closer, getting closer Let them …
Godhead Hey now what's this The place I'm living's a fucking disgrac…
Going Away As the sun sets on each other We look in fear…
Hear Me Say Cigarette smoke's hanging on my tears Clouding up my mind li…
Hearts & Minds you are for you could it be heart could it be bone thi…
Hearts and Minds you are for you could it be heart could it be bone this bod…
Higher Let's keep this long, yeah let's keep this sweet taste Don'…
Hit You Back I have been dreaming of a tragedy You and me what…
I Am Undone Talk about love And talk about trust, I know it's hard to…
I Don't Know You Caught a ride on a road to nowhere Caught a ride…
I Give To You Always told to take more care But touch that skin And you'd…
I Thought Lost you under my bed hid and over your head Moved away…
In Decline well now what a surprise you're full of shit and lies but…
Into The Large Air This This weary place Wanted a song and the pow-power guar…
Join In The Chant lies, lies, lies, lies gold, gold, gold, gold guns, guns,…
Join in the Chant (Burn!) Lies, lies, lies, lies Gold, gold, gold, gold Guns, guns, gu…
Join the Chant Lies, lies, lies, lies Gold, gold, gold, gold Guns, guns, …
K.I.A. And perhaps rebuild those severed ties; when I felt you…
Kick It 1) see a man jumping in with both feet and his…
Kick It (Dr. Know mix) See a man jumping in With both feet and his eyes…
Kiss Kiss Bang Bang You come around my door I've heard it all before You come…
Lakeside Drive Lakeside drive On a summers day Lakeside drive Nothing to sa…
Let Beauty Loose What is better than giving ourselves You and me You…
Let Your Body Learn Fast beat the feet Fast fall the hands Fast beat…
Let Your Body Learn / Murderous Fast beat the feet Fast fall the hands Fast beat…
Lightning Man It seems some story was told But what is there to…
Living Out Of A Bag I'm living out of a bag Life comes and goes But I…
Lovesick Hey you jesu Got a friend that fell in love with…
Murderous Where is the youth Youth Youth Youth Youth Youth Yout…
My Door Is Open You knew the story when we very first met I look…
My Heart Never connect You′re just like a whore Just like your mother…
Never Known Stop in front of that train Releasing your brain She said …
Nobody Knows One o'clock in the morning Wet rails take me home One in…
Once You Say Once you say They can come over And then they'll come M…
Once You Say (Celluloide remix) Once you say They can come over And then they'll come Mixed…
One Man's Burden Come on real nice not a word Come on with arms…
One Mans Burden Come on real nice not a word Come on with arms…
Our Own World We'll never be broken not like the morning when the sky t…
Payroll I've seen ya Sitting on the fence here On ya knees Suckin…
Payroll (John0 mix) I've seen you sitting on the fence there On your knees,…
Promises Push start Move over in the doorway Let's go What's that you…
Reasons Reasons They keep giving reasons They say in these seasons T…
Rope Got some news for you, my friend Got some noose not…
Shame your words echo your mouth mirrors your smile's within withi…
Smear Body Bang, bang Bang, bang, bang, bang, bang Tell me, tell me T…
Stray Cat Blues I hear the click-clack of your feet on the stairs I…
Sugar Sweet I've seen you All skin and bone Eyes grey as stone Heart goo…
T.W.A e out in the fields out in the words you come for me i…
T.W.A. e out in the fields out in the words you come for me i…
The Alarm Alarm No good, no gore, no more, no way No good, no…
Time I woke up from a trap Hit me just like a…
Time Slips By inside of life inside of life life this way, it takes no …
Traveling The night is calling me It knows me it calls me Tomorrow's…
Trigger Happy Now picture the scene It's downtown after the show I'm looki…
Twa e out in the fields out in the words you come for me i…
Violent Playground To the left, to the left To the left, to the…
Warsaw Ghetto Well, who's missing the years? Crying catastrophe Escaping o…
Warsaw Ghetto (dub mix) Well who's missing the years They're crying catastrophe Esca…
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