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 Howletts eye.

Militaristic, intimidating yet always accessible, Nitzer Ebb enjoyed a string of ferocious club hits and released five critically acclaimed albums on Mute.

Karjalainen Aisha Devi IBE Lanark Artefax Gasellit Kelly Moran Iisa Leroy Burgess DJ Python Raw Silk Astrid Swan Elias Gould Bizi KATERINA D.

Tiffany Ruusut Pharoah Sanders Quartet K-HAND Bendik Giske Pekko Kppi Ville Valo Agents Valesuchi Dream 2 Science Cuneyt Sepetci Elifantree SUAD Nosedrip Eva Geist Bantu Continua Uhuru Consciousness Maarja Nuut Ruum Juliana Huxtable Jesse Markin Maustetytt Sitoi Kampire Carista Teppo Mkynen The Holy (FIN) K:H:H:L Lauri Soini CCL Katakombi Sansibar Bamba Pana Makaveli HENRIK (FI) Tone B.

Nimble Yu Chuan Stina Koistinen Linda Lazarov Katu Kaiku Jeremy Spellacey DJ Yeboyah Denzel J.lindroos Ash Lauryn Olli Koponen Sebastian Holm Ana Gutieszca Willikens Ivkovic Darryn Jones Tomi K.

Its about passion and belief; passion about making it the very best and belief that you really do not give a shit what people think about it.

This is a once in a lifetime opportunity to see these true originators in an intimate night-club setting with a unique support line up.

The band will be playing classics and premiering material from their forthcoming, eagerly awaited album, working title ICP.

He talks about the groups early post-punk years, touring with Depeche Mode, acid house anthems and the new album.

We were school friends in Essex with a love of post-punk bands like Killing Joke, Theatre Of Hate, Bauhaus, The Banshees, Cabaret Voltaire, Virgin Prunes, The Birthday Party, Abwarts, and Malaria.

After going to see them, it seemed totally possible to do it our selves.

We actually had a much more Goth (that term didnt exist back then) appearance and were influenced initially by the look of The Bat Cave crowd.

As soon as we got on stage, antagonistic elements of the sizeable punk audience started causing trouble.

Having initially asked them to calm down so the show wouldnt be ruined, a metal tube-wielding Bon decided to ask a little more forcefully.

Once they had managed to snap all the XLR cables in the DJ box at the front of the stage, rendering the PA system unusable, the whole place descended into a chaotic brawl.

Phil loved it and we discussed how he could help us make a record.

We had previously approached a few labels, the usual suspects back then Mute, Factory, 4AD etc.

Simon Granger joined the band as our resident graphic artist, mainly through a shared love of Constructivism, Dada and John Heartfield.

He did all the artwork for our new label, Power Of Voice Communications.

In September 1984 we recorded the Isnt It Funny How Your Body Works EP.

We loved the analogue sound of the Korg MS 20, the Roland SH101 and Moog Oberheim.

But at that time the synth sound on most club tracks was the Yamaha DX7, which we detested; causing many arguments between us and Phil Harding, who couldnt really see why.

As it turned out we found that using the DX as a bass base and having the fizzier warmer sounds of the analogue gear over the top really worked, so we reluctantly conceded to Mr.

Harding. He mastered the art of a fat four on the floor kick that still really punches after all these years.

For the most part to piss people off who didnt realise that nearly everything we were doing was about nonsense, and having fun.

Im not saying that we werent serious about the band or the music but, to a certain extent, it was and still is all part of the act.

It should be a fucking spectacle not a jam band in someones garage.

In terms of my own maniac approach to being on stage it started off as a mask to hide behind; I used to brick it, so going bonkers kept my mind off the audience.

Even after I stopped being such a wimp about being on stage I realised that I had developed a personal approach to performing that really worked for us both live and in the studio.

Nitzer Ebb Albums