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. Keeping all the original D.A.F.-derived tension and approach of the group's earliest days but showing a greater facility for everything from variety in arrangements to more complex lyrics, 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 way the song literally revs up alone is worth the listen. Meanwhile, "Fun to Be Had" starts with an understated, almost swinging start before transforming into a total crowd-pleaser, Harris' astonishing ear for brutally effective rhythms welded to McCarthy in full rabble-rousing mode ("You are young/They are old/Control!/Is all they got to Give!"). Elsewhere is one of electronic body music's all-time highlights, "Lightning Man." With Harris adding both oboe and horn samples to the beats, helping to create a demented atmosphere reminiscent of Foetus, McCarthy steers away from his usual slogan approach to create a portrait of a strange, demonic figure (apparently a metaphor for alcohol addiction) preying on others. 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
Many contemporary techno producers are deeply in the debt of Bon Harris and Douglas McCarthy, who while not godfathers of that scene are at least cherished uncles. Novamute's decision a few years back to press to wax official remixes of Nitzer Ebb anthems from artists like Terence Fixmer, Thomas P. Heckmann, and The Hacker couldn't have received a better reception. Since then, you'd be hard pressed to go to just about any hard techno event in the known world without hearing at least one of these bangers. Although a companion release featuring those reworks and others was also made available on CD recently, Body of Work, a compendium of 32 tracks including an entire disc of selected mixes, will hopefully acquaint at least some of those revellers with the originators' originals.
Starting from the promising metal-on-metal spark of Warsaw Ghetto b-side "Isn't It Funny How Your Body Works," ending on Big Hit I Thought", and hitting all the necessary points in between, the first half of this double disc committedly runs through Nitzer Ebb's recording career, warts and all. Of course the hits are covered, with "Join In The Chant" and "Control, I'm Here" sounding just as incredible now as they did when I first heard them as an angsty teenager in New York City clubs. Though their best known cuts came off This Total Age and Belief ("Murderous" and "Hearts And Minds" being my personal favorites from those), there were several quite memorable singles from the subsequent, less acclaimed Showtime and Ebbhead records. "Getting Closer" and "Fun To Be Had" might not have been furious fist pumping anthems like "Let Your Body Learn," though they showcased the duo pushing their sound further, and successfully at that. The same cannot be said for the selections from 1995's Big Hit, which over a decade later still disappoint and frustrate even their most devoted fans. I'm almost certain that nothing from that critical and commercial flop even made it into the setlists of their North American reunion tour this year.
What makes this compilation particularly worthwhile even for those who own all these albums is the inclusion of selected material found on the singles, including rare songs and remixes that retrospectively deserve more exposure. Many of these treats are found on the second disc, my favorites being the alternate mixes, a number of which are only available on long out-of-print singles. Ranging in style from the grit and grime of "Shame (Mix Two)" and "Control I'm Here (Strategic Dancefloor Initiative Mix) to the funkier "Fun To Be Had (Long Version)" and "Hearts And Minds (Mix Hypersonic),