In the late 80s and early 90s, something new happened in alternative music. The Smiths had taken introspective guitar music as far as it could go. Outside of the music press, the acid house revolution seemed a far-cry from shambling guitar bands but its ecstasy-powered optimism spilled over from clubland into bands like Big Audio Dynamite, The Shamen, The Age of Chance and Pop Will Eat Itself. They mixed big beats with guitars and sampling – embracing the opportunities offered by technology and the positivity of club culture. The 'Madchester' scene hit the charts at the end of 1989, with the Stone Roses and Happy Mondays on the same episode of Top Of The Pops. Suddenly, "indie-dance" was everywhere.
Jesus Jones mashed noise rock with hip-hop and techno, classic songwriting with art-rock, and the timing was perfect. The music they made was modern and unique without ever sounding difficult or avant garde. “To be honest, that was exactly what I was aiming to do from 1988 onwards,” says frontman and songwriter Mike Edwards. “Back in those days, putting dance beats on rock music wasn’t really done. So it meant that you had a wide-open field in front of you to carve your own niche.”
