Nitzer Ebb are one of those acts whose influence just grows and grows. Having formed in the early 80s, this Colchester-based foursome (occasionally a trio) were one of the most lauded exponents of the Industrial / Hardbeat style, fusing pummelling electronic rhythms with equally fierce lyrical content and delivery.

The Industrial sound is enjoying a renaissance at the moment - at a time when older strains of electronic music are being hunted down to satisfy the cravings of a new generation of retro savvy clubbers. But even before the current 80s revival, within Techno in particular, many of the key players on the scene have namechecked EBM acts as key catalysts in their own musical development.

Notably, Richie Hawtin included the classic Nitzer Ebb track, 'Let Your Body Learn' on his groundbreaking 'Decks EFX & 909' mix compilation, harnessing it's infectious, stomping call to dance to great effect, and in the process introducing the tune to many brand new ears. Similarly, if you check the tracklists of any Surgeon sets over the past year, you're almost guaranteed to find a Nitzer Ebb track in there.

This is the third (and final) set of Ebb remixes commissioned by novamute. Previous two released 12" singles have included remixes by Derrick May, Thomas P. Heckmann, Terence Fixmer and The Hacker.

Mute Records will release a comprehensive Nitzer Ebb retrospective entitled Body of Work spring 2004, a double CD and DVD package.

Murderous was first released in November 1986, at a time when the band's star was firmly in ascension - coming from the same period as both 'Join In The Chant', and the aforementioned 'Let Your Body Learn'. For this remix, Belfast's Phil Kieran retains the tough industrial drive of the original, and it's spiky keyboards, and makes brilliant use of the vocal - dropping it sparingly throughout. This is an effective repackaging of the song for today's dancefloors - maintaining all the energy of the original.

Control I'm Here comes from a later time in the band's career - October 1988. LFO man Mark Bell offers a more radical reworking of the Ebb version, darking it up to the max with some heavy synths. Despite this imposing feel, the tempo is firmly on the upbeat tip, in a haze of sparkling hi hats and 808 toms. As such, it probably mimics the contrast of body-moving power rhythms with serious and occasionally unnerving vocal content that the band always managed to combine.