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.
Living Out Of A Bag
Nitzer Ebb Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Life comes and goes
But I did not know
No use thinking 'bout
Don't suck for me
Because it's letting me free
I'm heading out across the sea
I want the land and you alone with me
So step behind the wheel we'll drive though the gloom
Come sit down next to me and we'll try
Breath in the fumes that we leave
If I open up the sky you push through the trees
I'm kicking up a storm because I do what I please
to be myself so please yourself
hey if I wanted to hurt you I'd say you've got no clue
But I save that for
people who know
You know the things that we make
Are the things that they take
As they try to forsake our lives
I wanted to share it with you but
I'm living out of a bag
life comes and goes but I did not know
no use thinking 'bout what I never had
don't suck for me
Because it's letting me free
We're living out of a bag
nothing and no-one held me back
Walk out on me but don't run
Nothing compares with our lives
kept a rolling stone I've rolled through the dirt
never once been clean I never wanted to hurt
The life around where I am found
but if there's treasures inside
Then I can't be relied
not to show the world what can be done
I'll show you how to be free
I'm living out of a bag
life comes and goes but I did not know
no use thinking 'bout what I never had
Don't suck for me
Because it's letting me free
is it letting me free? is it letting me free?
The lyrics of Nitzer Ebb's "Living Out of a Bag" convey a sense of detachment from material possessions and traditional ways of life. The opening lines indicate that the singer of the song is living with minimal belongings, and the subsequent lines suggest a disregard for dwelling on lost opportunities. The message of the song is encapsulated in the refrain, "Don't suck for me / Because it's letting me free." This line implies that the singer's life is simplified by not being weighed down by possessions or dwelling on missed opportunities.
The second verse of the song shifts the focus to the singer's desire to travel and explore, specifically, the sea as well as a relationship. There is a sense of urgency and spontaneity in the language used, such as "step behind the wheel" and "drive through the gloom." The lyrics suggest a rebellion against a mundane or predictable lifestyle, represented by the "fumes" left behind on the journey.
The final verse of the song carries echoes of the opening lines, as the singer describes a life spent "living out of a bag." However, the tone is more assertive, with the singer emphasizing that they have not been held back by anyone or anything. The final two lines, "I'll show you how to be free / Is it letting me free? Is it letting me free?" indicate uncertainty and a potential questioning of the very philosophy that the singer is employing.
Line by Line Meaning
I'm living out of a bag
I have no permanent home or belongings and am living a transient lifestyle.
Life comes and goes
Life is unpredictable and transient, constantly changing and fleeting.
But I did not know
I was unprepared for the unexpected twists and turns of life.
No use thinking 'bout
There is no point in dwelling on or regretting what cannot be changed or obtained.
What I never had
I am not letting the absence of material possessions or experiences hinder my pursuit of a fulfilling life.
Don't suck for me
My circumstances may seem unappealing to you, but they do not bother me.
Because it's letting me free
In fact, my lack of attachments or responsibilities is liberating and empowering.
We're living out of a bag
My partner and I are living with the same minimalistic lifestyle.
Nothing and no-one held me back
I have no ties or obligations that limit my choices or possibilities.
Walk out on me but don't run
My fearlessness and independence are more important to me than any relationship or companionship.
Nothing compares with our lives
Our freedom and individuality are worth more to us than any material possessions, societal norms, or expectations.
I've rolled through the dirt
I have experienced hardships, struggles, and sacrifices in my pursuit of personal growth and authenticity.
Never once been clean
I have never compromised my values or identity to conform or please others.
The life around where I am found
I am living in the present moment and appreciating the beauty and diversity of my surroundings.
But if there's treasures inside
However, if there are opportunities or experiences that align with my values and goals, I am willing to pursue them.
Then I can't be relied
I cannot be predictable or conventional, as my priorities and perspectives are constantly evolving.
Not to show the world what can be done
I am not trying to prove or impress anyone, as my choices and actions are based on personal fulfillment and growth.
I'll show you how to be free
However, if my example inspires or empowers others to pursue their own authenticity and fulfillment, I am happy to guide and support them.
Is it letting me free? Is it letting me free?
I am still questioning and reflecting on whether my current lifestyle and choices are truly liberating and fulfilling.
Lyrics © O/B/O APRA AMCOS
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