URBAN ASPIRINES: Nitzer Ebb

Nitzer Ebb produced hard-hitting electronic music with the Teutonic bent and abrasive edge of early industrial music, plus the vocal chanting and beat-heavy flavor of the late-'80s alternative and Balearic dance scene. Formed in Chelmsford, Essex, in 1982 by vocalist Douglas McCarthy, drummer Bon Harris, and keyboard player David Gooday, the group began experimenting with synthesizers and drum pads, fusing the

bandmembers' affinity for dark goth and punk rock with the emerging technology.

After the release of That Total Age, Nitzer Ebb toured Europe with Depeche Mode, and the latter band's pop sensibilities appeared to inspire them. By the time of their second album,

The following year's Ebbhead further consolidated their position with alternative audiences, with at least two well-known singles, "I Give to You" and "Godhead." As a whole, though, the album showed Nitzer Ebb a bit confused as to where industrial music was going. Nitzer Ebb virtually disappeared from active music-making for the next four years,

Having arguably perfected their original formula on Belief -- as well as reaching its limitations -- Douglas McCarthy and Bon Harris started to experiment in a variety of different directions on Showtime, resulting in their best album.

Showtime is the third album of the British EBM group Nitzer Ebb. It featured two successful singles, "Lightning Man" and "Fun to be Had," the latter of which was later remixed by George Clinton. "Getting Closer" was also released as a single.

Showtime doesn't waste a note (it's not even 40 minutes long) and aims for full attack on all fronts. It doesn't hurt that the album is bookended by two of the band's best-ever singles. "Getting Closer" captures an atmosphere of impending, imminent doom better than just about anything outside of prime Killing Joke, while the heavy synth distortion makes the track rock, all without using guitars.

The off-kilter cabaret influence crops up throughout the album, with worthy examples including "Nobody Knows," a slow bluesy crawl, while "One Man's Burden" in particular is a highlight of Harris' expanding musical reach, with subtle rhythm shifts and orchestrations showing how soft can work for impact just as well as loud.