Muhammad teaches, “Women are the twin halves of men.” Well, yes, indeed! And it is this inscrutable “other” that the next three songs, “Worm Tamer”, “Heathen Child” and “When My Baby Comes” orbit. Nobody does women like Cave and there ain’t nothing like “Worm Tamer” - a mayhem of outlandish noises borne over maniacal bass and turbo-drums; “Heathen Child” cuts a deep seductive groove with squalls of sawtooth distortion. Both songs abound in lyrical imagery at turns lascivious, paranoid, philosophic, absurd and flat out abusive. “When My Baby Comes” completes the feminine triptych, a kind of unearthly samba, that implodes upon climax into a super-heavy mushroom cloud of loops and f**k-me bass.

“It is a man’s own mind, not his enemy or foe, that lures him to evil,” teaches Buddha. Well, yeah, and after a brief interlude of free-falling introspection (”What I Know”) we are thrown directly into the blistering mayhem of “Evil” - easily Grinderman’s most malignant musical challenge to date and that’s saying something! Prepare to be eviscerated, people! Dual panegyrics of desire and devotion follow - the mind-blowing “Kitchenette” and the space-surfing psycho-pop of “Palaces of Montezuma” - each seductively and subversively groovy in its own right. But just as it appears as if love might prevail after all - don’t panic! - in ride four horsemen of the Funkadelic apocalypse with “Bellringer Blues”, a dazzling soulful tromp and a stone cold masterpiece.