The brilliance of The Rapture on this album lies in the band’s ability to turn some assaultive, anti-commercial source material into exhilarating party jams. On the title track, the New York transplants essentially taunt the copyright lawyers in charge of PiL’s distinctively atonal and unsettling “Careering,” taking the barebones disco beat and haunted vocal cadence to very different ends. The monolithic acid house of “Olio” uses similarly corrosive sounds in service of communal release but it is the shards of guitar over a monumental freight train of a beat that leaves “House Of Jealous Lovers” as perhaps the definitive song of 2000s dance-punk.