IF THE Pet Shop Boys and Iron Maiden got it together and had a love child it would probably sound a lot like Jesus Jones. Back in 1988 when the music world was trying to come to terms with the divide between guitar-oriented rock music and the synthesiser-driven dance scene, Jesus Jones decided to bring the two forms together. The result of this synthesis of rock, rap and house was Liquidiser, a debut which drew much media attention for its innovative approach. With Liquidiser reaching 32 in the British charts, Jesus Jones made no mistake with the follow up album, Doubt, which topped the chart in January 1991. It was an eclectic mix of dance and rock, which proved difficult to pigeon-hole. What was Jesus Jones? How was the music establishment supposed to react? In the end it didn't matter. The album made it big in the US and Jesus Jones had started a trend; dance rock had caught on and everyone was grooving to it. So what about the latest offering, Perverse ? Well, there are a few things it isn't. It isn't a techno album, although its production would have been impossible without the influence of techno clubs, records, radio stations and bands - the offshoot and development of what Liquidiser had introduced. Nor is it a rock album, despite the enormous amount of energy evident and its extraordinarily ''live'' feel. What is it then? It is pure adrenalin, sampled rock guitar squeezed, tortured and spat out by a synthesiser; it is retro drum fills over hip-hop dance grooves, the gritty vocal style of John Bonham grafted to Merseybeat harmonies. Perhaps the most outstanding achievement of Perverse, is that it was recorded in Mike Edwards' (the band's songwriter and singer) home studio piecemeal, yet sounds as tight as a drum. Much of the credit for this live sound must go to Edwards' startlingly angry vocal performance.