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With  an  unusual  name,  Teutonic  beats  and  aggressive  sound,  it  is  often  assumed  that  Nitzer  Ebb  originated within the German techno scene, but the truth of the matter is that this trio hailed from the UK, Chelmsford in Essex to be precise. Formed in 1982 by school friends Douglas McCarthy [Lead vocals,  guitar],  Vaughn  'Bon'  Harris  [vocals,  percussion,  guitars]  and  David  Gooday,  [percussion],  Nitzer Ebb were influenced by the harder sounds of the early techno pop scene, distilling elements from several other genres too until they had created their own identifiable sound, characterised by extremely powerful rhythms, minimal hooklines and fierce, chanted lyrics.

From  staging  small  shows  in  their  local  area,  Nitzer  Ebb's  infectious  mix of pounding beats, militaristic imagery, angst and anger was soon filling  alternative  dancefloors  across  the  UK,  leading  to  live  dates  in  London where the group caught the attention of PWL producer Phil Harding.  Realising  the  trio's  potential  he  helped  them  establish  the  label Power Of Voice Communications, producing and releasing their debut single "Isn't It Funny How Your Body Works?"(1985). The Nitzer Ebb sound was one of an impassioned techno rage, captured perfectly on  three  further  singles  "Warsaw  Ghetto"(1985),  "Warsaw  Ghetto  Remixes"(1986) and "Let Your Body Learn"(1986) which all raise their  profile  considerably  to  the  extent  that  in  Europe  they  were  soon  regarded  as  the  leading  exponents of the new Hard Beat or Electronic Body Music (EBM) scene. Taking Phil Harding with them,  Nitzer  Ebb  signed  to  Mute  in  November  1986  and  released  the  extremely  brutal  beats  of  "Murderous"(1986) followed by the 'International Funk Aggression' of "Let Your Body Learn" (1987) a smash hit in the clubs of New York, whilst the follow-­‐up "Join In The Chant"(1987) was an early and somewhat  unlikely  hit  on  the  UK  acid  house  scene.  Their  debut  album  "That  Total  Age"  (1987)  captured the essence of Nitzer Ebb in a perfectly formed package, its combination of controlled anger and irresistible rhythm that becoming for many the most definitive example of the Nitzer Ebb sound. Embarking on a worldwide tour they discovered that their energetic live show was also just what dance music fans had been waiting for, their popularity on the Spanish coast alone resulting in a demand for 3 gigs a night.

This  infectious  sound  attracted  the  attention  of  fellow  Essex  lads  and  label  mates  Depeche  Mode  who invited Nitzer Ebb to accompany them on the lengthy European leg of a highly successful world tour, exposing them to exactly the right audience for their sound and image. Returning to the studio following the tour theycompleted their next album "Belief" (1989) as a duo following the departure of  David  Gooday  and  ditching  their  militaristic  image  in  favour  of  a  more  subtle  approach  to  their  output. Regular producer Phil Harding also left for pastures new and was replaced by Mark "Flood' Ellis, who in beginning a long relationship with McCarthy and Harris was also instrumental in steering them  towards  a  more  refined  sound.  With  Nitzer  Ebb's  own  world  tour  in  the  pipeline  the  duo  recruited Julian Beeston to assist them with Beeston becoming a regular contributor both on and off stage.

Their third album "Showtime"(1990) revealed a less confrontational sound and an accessibility that particularly  appealed  to  audiences  in  the  USA.  The  single  "Fun  To  Be  Had"(1990)  even  received  a groovy  remix  by  grandfather  of  funk  George  Clinton  and  reached  number 2 in the US dance charts. By the time Nitzer Ebb released "Ebbhead"  (1991)  even  a  previously  reluctant  music  press  were  warming to their sound. On this release Nitzer Ebb were slower and more  orchestrated,  mixing  their  hard,  industrial  beat  with  raw  guitarsamples and more fully developed songs. Promoting the album with  a  global  tour  that  took  them  from  the  southern  states  of  the  USA to appreciative audiences in Siberia, Nitzer Ebb were enjoying the  fruits  of  their  truly  international  appeal.  By  the  time  that  their  fifth album "Big Hit" (1995) arrived, Nitzer Ebb had been through another metamorphosis. Gone was the techno rage that had become their signature, being replaced instead  with  a  wider  use  of  real  instruments,  particularly  guitars  and  drums.  The  songs  too  were  more complex, dividing Nitzer Ebb's fan base between those who simply wanted them to go on making  Electronic  Body  Music  and  those  who  supported  their  desire  to  develop.  David  Gooday  rejoined the group but purely to provide artwork for this album and McCarthy and Harris hired a third  member,  Jason  Payne  [percussion]  to  their  main  line-­‐up,  recruiting  John  Napier  [guitars,  percussion] to assist with their live performances. "Big Hit" was their last record to date with all concerned taking an 'extended hiatus' following its completion which effectively spelled the end of Nitzer Ebb's activities as a group.

Since  "Big  Hit"  Nitzer  Ebb's  members  have  chosen  to  concentrate  on  their  various  solo  and  side  projects, a practice McCarthy, Harris and Beeston had begun in 1989 with their collaboration with Die Krupps. Douglas McCarthy has been a regular collaborator with Depeche Mode's Alan Wilder on his Recoil project. Bon Harris meanwhile has relocated to Los Angeles worked as 13mg and with his latest three piece outfit Maven. The rediscovery of the Hard Beat/Electronic Body Music genre by a new generation  of  music  fans  has  seen  Richie  Hawtin  (Plastikman)  include  Nitzer Ebb's 'Let Your Body Learn' on his seductive "Decks EFX & 909"(1999)  mix  compilation  and  an  exciting  set  of  Nitzer  Ebb  remixes  commissioned by novamute. The series of three 12" singles have seen Derrick  May,  Thomas  P.  Heckmann,  Terence  Fixmer,  The  Hacker,  Phil  Kieran and LFO's Mark Bell get to grips with the classic vintage of "Let Your  Body  Learn"  (1987/2002),  "Control  I'm  Here"  (1988/2004)  "Murderous" (1986/2004),'Shame' -­‐ Nitzer Ebb vs. Thomas P. Heckmann' (1989/2001)  and  "Join  In  The  Chant"  -­‐  Nitzer  Ebb  vs.  Derrick  May  (1987/2001), the latter being a previously unreleased 1989 remix by the godfather of techno himself.

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