Nitzer Ebb, Djachtung

Events Calendar - December 2, 2009

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Nitzer Ebb, Djachtung [ Static Link : iCal ]

City:

Canada, Quebec, Montreal

Time:

Wed Dec 2, 2009 @ 9:00pm

Location:

Foufounes Electriques, 87 Rue Ste-Catherine E
514-844-5539
[www.foufounes.qc.ca]

Description:

Greenland + KAO Production + GEG present :

Montreal return of
Nitzer Ebb
part of the Industrial Complex Tour 2009

+ special guest DjAchtung [Krasthess Nights]

wednesday December 2 @ Foufounes Electriques
Door @ 8pm (it's an early show!!)
cover : 18 ADV // 21$ doors

tickets at Admission / Cruella / Foufs / Cheap Thrills / l'Oblique

don't miss the official after party at Passeport Club with dj Nihil and DjAchtung to continue the party! (cover 2.50$)

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Greenland + KAO Production + GEG présentent :

le retour Montréalais de
Nitzer Ebb
pour la tournée Industrial Complex 2009

avec invité spécial DjAchtung [Soirées Krasthess]

Mercredi 2 Décembre @ Foufounes Electriques
Portes @ 8pm (soyez y tot! s'est un spectacle de semaine)
billets: 18 ADV // 21$ porte

billets disponible chez: Admission / Cruella / Foufs / Cheap Thrills / l'Oblique

ne manquez pas l'après spectacle officiel au bar Passeport avec dj Nihil et DjAchtung (cover 2.50$)

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Formed in Chelmsford 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.

Music:

Room 1:

Nitzer Ebb (United Kingdom, London, London)

Flyers: