It is a given that any band looking to marry jazz and rock produces a soggy fusion that combines the worst of both genres. Post-beatnik quartet Acoustic Ladyland appear to have invented new laws of music by drawing on the visceral extremes of both forms of music and diluting neither.

They began, six years ago, by rearranging Jimi Hendrix songs as punk-jazz explosions; sax-toting bandleader Pete Wareham and keyboardist Tom Cawley are both former Young Jazz Musicians of the Year. They have since decided to embrace rock'n'roll's serrated urgency: tonight could be John Zorn playing with the Stooges.

Their set is a ferocious assault powered by a carpe diem sense of insatiability. Wareham's febrile sax is the focus, all jagged honks and attitudinal sallies, but Cawley, playing his keyboard like a guitar, is equally protean: on New Me, he tap-taps out staccato bleeps and whistles that sound like Martian Morse code.

The hirsute Seb Rochford may resemble Slash from Guns N' Roses, but he is a fantastically canny drummer, pitching the feral Glass Agenda at a point of constant crescendo. Wareham's virtuosity can't conceal the fact that the saxophonist is an old punk at heart: when he takes to the mic, he spits bile like Rotten at the 100 Club.

Guest vocalist Alice Grant of Rochford's band Fulborn Teversham ladles honeyed menace on the acid-tongued Paris, while Anne Booty, discovered by the band on MySpace, sexes up imminent single Cuts & Lies.

By the night's end, the sweat-soaked Wareham looks simultaneously disorientated, out for the count and triumphant. Tremendous.

· At ULU, London WC1, on February 15. Box office: 020-7664 2000.