KJ WERE a full-on pop band by this time, and this song is a brilliant, uplifting slice of swooning synth romanticism, with Jaz Coleman in full croon. A guilty KJ pleasure if there ever was one.

'THERE WERE fireworks in the Gulf, there was champagne at home, but showbiz and Hollywood still shouted out' sings Coleman on this synth-rock anthem, portending wars that burn on as we speak.

MINISTRY-HEAVY GUITARS chug and pummel as Coleman explodes with all the anger and energy and despair of a man who refuses to take the slaughter of innocents in silence or lying down.

'CORRUPTION AT the highest levels. You've got blood on your hands' yells Coleman on this belting punk-metal anthem. Are you listening Tony Blair? What about you, George W?

'SORRY, DEMOCRACY is changing' chants Coleman with unconcealed anger on this surging lament about the joke which democracy has become. Never there was a catchier song about politicians.

FAMOUSLY the song Nirvana ripped-off on 'Come As You Are'. Though this is more adrenalised, sardonic and scathing than Nirvana's 'appropriation', 'Come As You Are' is still the better song. Hate mail to the usual address.

A DIDGERIDOO, of all things, introduces this civilisation-grinding, sand-gargling industrial metal onslaught. Listen out for Coleman coughing with disgust throughout.

PROOF THAT KJ are above everything else fun. How else to explain this absurd ode to letting go of yourself in a frenzy of lunacy and clanging drums? The Prodigy agree: see 'Firestarter'.

AN UPBEAT electro-beat rhythm, some raspy guitars and a hoarse Mr Coleman yelling at us to, in a lemming-like fashion, follow our appointed leaders to our inevitable impeding doom. Classic.

BIG BEN chimes in four minutes and five seconds of bouncy, tub-thumping tribal lunacy which explodes into a humungous sneered cockney punk chorus. The perfect anti-apathy rant.

ON WHICH KJ get their goth on, with Jaz Coleman moaning on about decay, frustration and burning hearts over a backdrop of languid guitars and chugging riffs.

PIL/PIGFACE drummer Martin Atkins joined the band for their harshest ever material, nearly tearing them apart. Filthy, ugly, shouty, compelling.

THEY'D TURNED towards synth pop and glossier production values by now, but still had a punk-as-fuck energy, shown on this belter of an ode to all things dark.

'I CAN see tomorrow, I can see the world to come' croons Coleman over this Eastern-vibe mid-paced anthemic number. We know you can, you wide-eyed lunatic, that's why you're scary.

THIS SLOW-BURNING industrial-tinged post-punk onward march of doom kicked off the band's debut album by celebrating the funeral of the western world. Foo Fighters have covered it.

GLORIOUS MELODY and grandiose ambition fuelled 1996's 'Democracy' album and this ode to breaking free of the prison that is modern life is nothing short of inspirational.

THIS 'FIRE Dances'-period B-side has it all: eerie, tribal drumming, Coleman's anguished delivery and a chorus to die for - along with the planet we're destroying.

'LIFE MAY be hell, but what else is there?' this adrenaline-fuelled punk number seems to be asking with its throaty yells and slicing riffs. Covered by Metallica on 'The $5.98 EP - Garage Days Re-Revisited'...though it's omitted from the UK EP.

ON WHICH Jaz Coleman flits between dying Dalek grunt and Simon Le Bon melody to the backdrop of some ominous staccato riffage. Covered by Japanese loons Mad Capsule Markets.

WHERE SHOUTY industrial metal belies its debt to Goa/trance-techno dance music. Five minutes and 43 seconds of pure aural hypnosis. And Jaz Coleman going nuts, of course.