Come Across, Australian quartet Bluebottle Kiss' fifth full-length, and second to be released in the U.S., delivers an intense, narrative-driven, swinging affair and it has already received comparisons to such classic Australian rock albums as the Triffid's Born Sandy Devotional or Nick Cave's The Boatman's Call. Let's face it, though, the only people that don't realize the rich musical heritage of Australia are probably Australians. The past 25 years alone have produced sounds as diverse as the cold war, Reagan-era, post-punk of Midnight Oil's 10,9,8,7,6,5,4,3,2,1, the rainy esoterica of The Church, the Dosteyevski meets Dickens dankness of Nick Cave and the Bad Seeds, the post-Birthday Party bruised sea shanties of Crow, the summery drones of the Underground Lovers, the awkward Brisbane romanticism of the Go-Betweens and on and on it goes. There's always been sand and red soil between the collective toes of Antipodean music. Then there's Bluebottle Kiss. All 3/4, 6/8, overnight Hume Highway hallucinations merged with Indian Ocean hopefulness. Convict music. Dreamed up because much of the time dreams are all you have here. Often lunging between dissonant punk-fused barrages to fragile folk and the wide screen, its noise you can smell, drink, taste, and see. And did someone say live performances? In a country renown for its grinding live circuit, Bluebottle Kiss has performed literally hundreds and hundreds of shows with artists ranging from Silverchair to Interpol and in the process have earned the reputation for a fiercely intense live band. The will be touring the U.S. with this release. Their fourth album, and first released in the U.S., Revenge is Slow, received many a hyperbolic reviews in Australia, the US, and Europe from such publications as Rolling Stone, the UK Independent, Alternative Press, The Face, The Australian, and many others. Expect accolades to follow the release of Come Across.