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.
Let Your Body Learn
Nitzer Ebb Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Fast fall the hands
Fast beat the feet
Fast fall the hands
Meld in the music
The music of drums
Meld in the music
Choose the fast beat
Choose the hard line
Choose the fast beat
Choose the hard line
Try to show us one better
Not sick to the heart
Not calling with flesh
Suffer little children
Suffer little children
Suffer little children
Written in pain
Boys at one
Girls at peace
Boys at one
Girls at peace
Boys at one
Girls at peace
Boys at one
Girls at peace
Fast beat the feet
Fast fall the hands
Fast beat the feet
Fast fall the hands
Hold onto rhythm
The music of drums
Hold onto rhythm
The music of drums
The pulse is alive
Making me sane
Let your body learn
Let your body build
Let your body learn
Let your body build
Suffer little children
Suffer little children
Suffer little children
The pulse is alive
Fast beat the feet
Fast fall the hands
Boys at one
Girls at peace
Boys at one
Girls at peace
Boys at one
Girls at peace
Boys at one
Girls at peace
Freedom from fear
Giving release
Freedom from fear
Giving release
Giving release
Giving your heart
Fast beating feet
Fast falling hands
Fast beating feet
Fast falling hands
Fast beat the feet
Fast fall the hands
Choose
Fast beat the feet (learn)
Choose
Fast beat the feet (learn)
Feel
Choose
Let your body learn
Let your body build
Let your body learn
Let your body build
Choose
Learn
Build
Choose
Learn
Build
Choose
Learn
Build
Choose
"Let Your Body Learn" lyrics by Nitzer Ebb describe the power of music in uniting people and the liberating effect it has on the body and mind. The fast beats and hard lines are a call to action, urging listeners to choose the music and rhythm that will help them achieve their goals. The choice is theirs, and by melding with the music, they can unite with others and find freedom from fear.
The lyrics "suffer little children written in pain" refer to the biblical verse "suffer the little children to come unto me" and criticize the institutionalized religion for imposing fear and pain on children. Similarly, the line "not calling with flesh" implies that sex is not a primary motivator, but rather the power of music and rhythm.
The repetition of "boys at one, girls at peace" emphasizes the unity and peace that can be achieved when people come together through music. The final lines urge listeners to let their bodies learn and build, to choose the fast beat and hard line, and to give their hearts to the liberating power of music.
Line by Line Meaning
Fast beat the feet
The tempo of the music is fast and encourages dancing.
Fast fall the hands
The rhythm of the music is driving and fast, with the drums maintaining the beat.
Meld in the music
Immerse yourself into the rhythm and sound of the music by synergizing with it.
The music of drums
The percussion sound is essential in creating the rhythm within the music.
Choose the fast beat
Select the song with a fast tempo to energize and empower your movements.
Choose the hard line
Pick music with a strong, unrestrained beat that is bold and forceful.
Try to show us one better
Demonstrate your skill by performing with flawless execution and style.
Not sick to the heart
Escape from emotional distress and depression while engaging in the beat of the music.
Not calling with flesh
Embrace the power of the music rather than using bodily desire to interpret it.
Suffer little children
Express through the music the shared feeling of pain and suffering in society.
Written in pain
Communicates the pain and despair felt by people through their experience in life.
Boys at one
The boys unite through music to form a strong cohesive group that moves as one.
Girls at peace
Girls share a sense of peace and contentment when they dance and connect through music.
Hold onto rhythm
It is essential to find and maintain the rhythm of the music to execute movement correctly.
The pulse is alive
The music is alive and pulsating with energy, which resonates with the body.
Making me sane
The music has a calming and soothing effect on the mind and body, creating a state of tranquility.
Let your body learn
Allow your body to take in the music and learn how to move in sync with the beat.
Let your body build
Build upon the movements learned from the beat, and create new ones that suit the tune and vibe of the song.
Freedom from fear
Dancing to the music offers an escape from everyday life and freedom from inhibitions and anxieties.
Giving release
Dancing offers a release from troubles, and a feeling of relief and liberation from negative thoughts.
Giving your heart
Dancing is giving your all and putting yourself out there, letting your actions speak louder than words.
Choose
Pick your favorite song and let the rhythm take control.
Learn
Pay attention to the music and body movements and let yourself learn from them.
Build
Use what you have learned to create new and unique movements that best suit the music and how it makes you feel.
Feel
Connect with the music and allow your movements to express your emotions and state of being.
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
@jaewhite140
That Total Age and Belief was when Nitzer Ebb was at their best. I miss his aggressive shouting.❤️❤️❤️❤️❤️
@manualLaborer
I imagine he'd make a great sports coach, as you hurt yourself "let your body learn!!" But coach... "ugh!! Suffer children"
@HunterSkowronPDX
showtime is epic too
@jaewhite140
@Hunter Skowron it comes in third.👍
@somewhatdweeb5194
First heard this song in GTA IV. Riding on a dirt bike on the coastline, chasing after Jimmy Pegorino who is trying to escape via boat. Somehow made choosing to take Revenge instead of taking the Deal feel like it was the right choice.
@helle9647
2023 ...still fuckin WOW...i was 20 then ...50 now
@leomessi123
saw them open up for Depeche Mode in the late 80's and they tore the stage up
@mvkoper3925
1990. ;) I have the ticket stub.
@evad520
+MV Koper I saw them in 90 too, They opened for Depeche in 87/88 in Europe but couldn't in the states. So OMD opened in the States.
@Eklektik40
I saw them doing first part of Front 242 in Montreal. Best EBM show you could imagine!!!