Nitzer Ebb – In The Chant
Label: |
Mute – 12mute64 |
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Format: |
Vinyl
, 12", 45 RPM, Single
|
Country: |
UK |
Released: |
|
Genre: |
Electronic |
Style: |
EBM |
Tracklist
A | In The Chant (Burn!) | 5:23 | |
B1 | In The Chant (Gold!) | 5:28 | |
B2 | In The Chant (Lies! - Instrumental) | 5:41 |
Companies, etc.
- Phonographic Copyright ℗ – Mute Records Ltd.
- Copyright © – Mute Records Ltd.
- Recorded At – Greenhouse Studio, London
- Licensed From – Power Of Voice Communications
- Published By – Blue August Music Publishing
- Mastered At – P.R. Records Limited
- Pressed By – P.R. Records Limited
Credits
- Lacquer Cut By – Noel*
- Plated By – PAG
- Producer – Phil Harding
- Written-By – Nitzerebbprodukt
Notes
℗ 1987 Mute Records Limited. © 1987 Mute Records Limited
Recorded at Greenhouse Studios, London.
Publishing Blue August Music.
Recorded at Greenhouse Studios, London.
Publishing Blue August Music.
Barcode and Other Identifiers
- Matrix / Runout (Side A Variation 1): 12 mute - 64 A PAG P3 Noel
- Matrix / Runout (Side B Variation 1): 12 mute - 64 B1 PAG P3
- Matrix / Runout (Side A Variation 2): 12 mute - 64 A1 P4 PAG ᙠ NOEL
- Matrix / Runout (Side B Variation 2): 12 mute - 64 B1 P4 PAG U̶
- Matrix / Runout (Side A Variation 3): 12 mute - 64 A1 P4 PAG ^ NOEL
- Matrix / Runout (Side B Variation 3): 12 mute - 64 B1 P4 PAG ^
- Matrix / Runout (Side A Variation 4): 12 mute - 64 A1 PAG ᙠ NOEL
- Matrix / Runout (Side B Variation 4): 12 mute - 64 B1 PAG ᙠ
Other Versions (5 of 21)
View AllTitle (Format) | Label | Cat# | Country | Year | |||
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Recently Edited
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In The Chant (12", 45 RPM, Maxi-Single, SRC Pressing) | Geffen Records | 0-20786, 9 20786-0 | US | 1987 | ||
Recently Edited
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In The Chant (7", Single) | Mute | mute64 | UK | 1987 | ||
In The Chant (12", 45 RPM) | Mute | INT 126.870, 12 Mute 64 | 1987 | ||||
Recently Edited
|
In The Chant (12") | Sanni Records | 12 MUTE 64 | Spain | 1987 | ||
In The Chant (12", 45 RPM, Clear) | Mute | INT 126.870, 12 Mute 64 | 1987 |
Recommendations
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1988 UK12", Single, 45 RPM
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Reviews
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Nowadays I prefer listening to the Instrumental.
But the vocal was an absolute anthem pretty much everywhere. From the Balearic crew to the Acid House teds to the New Beat, EBM and early Techno massive. I now will more likely choose the Instrumental because I can't quite readily take the vocal chanting as often anymore. This record as a whole used to work the crowd into an absolute frenzy. I saw people who were previously soul boys and girls absolutely freak out to this.
Tip: If one already likes this and in the very unlikely event have never heard the Album version, they'll need to get on the case sharpish. The alternative Electro styled drum beat groove feels even more hard hitting than the well known four to the floor versions. -
I killed this in the 90s at Cafe Deluxe all in Black drinking Black label.. so many emotions in this.
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Edited 7 years agoWithout any shadow of doubt. In The Chant (Burn!) is an acid house / balearic classic. Too many parties in 88/89 where this one ravaged the dancefloor. Fond memories and personally my favourite Nitzer Ebb tune.
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Judging from the mixes, too bad this, of all NE singles, remains their most uninspiring. The superb album version got far more respectful (mis)treatment with the bonus addition on the CD version of "That Total Age" ("Metal Mix" especially, which Terence Fixmer himself prefers and to much greater effect).
As for this very single, the song is just overstretched in three rather spineless, exploitable "bonus beats" versions per se, of which the edgier second (gold!) may seem the most interesting on first listen, but apart from the irresistible, stripped-to-the-bone mechanical beat, nothing in it really takes you any higher (well, if observed from the "sinister hip hop" angle, this mix actually does the original some justice). However, the opening version (burn!) while keeping some of its subversive charm, is tamed into a mild, utterly tedious dance number, which only starts to build towards the end (ironically this template remains a favourite, the band themselves using it for their live shows to the present day).
While some of the appeal remains - considering the true beast this should have been, with a proper b-side to it (like many other amazing singles of theirs), and remixes less lazy - it all sadly came down to mere bombast graphics over content.
But then again, the choice is yours.
Release
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