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.
Shame
Nitzer Ebb Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
your mouth mirrors
your smile's within
within youir look
within your smile
within your look
take it back
The lyrics of Nitzer Ebb's song Shame seem to be about the internal turmoil and conflicting emotions of an individual. The first few lines suggest that the words spoken by the individual echo and mirror their thoughts, implying a certain level of self-awareness. The mention of a smile being within their look suggests that they may be covering up their true feelings and putting on a façade. However, the repetition of the phrases "within your smile" and "within your look" further emphasizes the theme of hidden emotions and inner turmoil.
The final lines of the song, "take it back, shame shame shame don't come back" could be interpreted as a plea to take back the fake smile and the façade and to get rid of the shame that comes with hiding one's true feelings. The repetition of the word "shame" gives the impression that the individual is struggling with intense feelings of guilt or self-loathing. This could be related to a past event or a personal struggle.
Overall, the lyrics of Shame seem to be exploring complex and internal emotions of an individual who may be struggling with their inner thoughts and feelings.
Line by Line Meaning
your words echo
The impact of your words reverberate intensely in my mind, resonating with great intensity.
your mouth mirrors
Your mouth often reflects the things you want to say or do, revealing your true feelings and desires.
your smile's within
Your genuine smile comes from deep inside you, from a place of real happiness and contentment.
within your look
Your gaze holds so much meaning and emotion – it reveals what you're really feeling inside.
within your smile
Your smile is a true reflection of your innermost feelings and emotions, revealing your true self to the world.
within your look
Your gaze holds so much meaning and emotion – it reveals what you're really feeling inside.
take it back
Retract all the negative things you've said or done and make amends for the harm you've caused.
shame shame shame don't come back
Don't allow shame to consume you, it's important to fight through it and not let it take over your life.
Lyrics © Kobalt Music Publishing Ltd.
Written by: ANNA CATHERINE MARY JOLLEY, BRIAN STEVEN HARRIS, MARK JOLLEY
Lyrics Licensed & Provided by LyricFind
Rick Stone
I can't "believe" this album is 30 years old! It stills hold up IMHO.
Big G Haywood
Yeah, it still bangs in my car!
ibtaba
My high school gf stole my showtime shirt I got at one of their concerts.
Tish Breezie
This song still beats any dance song out today.
H. S.
are you sure? you need to get out more
j37h3r
Saw Fixmer/McCarthy a couple of years back, they mixed in the latest techno with old Nitzer Ebb and it was combustable...that dancefloor was on FIRE!
Jae White
NITZER EBB First Three Albums were their best. “That Total Age” “ Belief” “Showtime” ❤️🎶❤️🎶❤️🎶❤️🎶❤️🎶
Vision33r
This song was just unbelievable live. If I remembered correctly it was the 2nd song after the opening song. What a great transition, the great thing about their music is that it is so easy to play from one song to another and they mix very easily. Nothing like live drums played. I was only 15 when I became a fan.
Roadkill Gravy
@ElementFreedive Pepperidge Farm remembers.
Ghost In the Networks
I like that they had a strong visual element to their music.