POP MUSIC REVIEW : An Aggressive, Arresting Set From PJ Harvey : A spectacular performance by the band mixes intelligent writing wrapped in swirls of seductive classic blues-rock energy.

Polly Jean Harvey writes songs about sexual relationships and passion with such frankness and detail that her music would probably make even Leonard Cohen blush.

Where Cohen has long been hailed our most fearless chronicler of romantic combat and desire, his music is softened by a poetic grace and, in most cases, a sense of gentlemanly discretion. He tells us of wounds and lusts, but usually with just enough imagery to steer our imaginations in the right direction.

As Harvey demonstrated in a spectacular performance with the trio that bears her name on Tuesday at the Hollywood Palladium, the English singer-songwriter assaults you with songs that describe intimately the needs and weaknesses that often turn relationships into psychic battlefields.

It’s an aggressive and dangerous form of pop expression that in the wrong hands could produce little more than hollow exercises in pop voyeurism.

But Harvey understands the importance of nuance, mystery and occasional humor, and she has enough craft to employ each element judiciously.

Don’t get the idea that concerts by PJ Harvey--as the band is known--are stark, despairing affairs. The songs--many of which reflect the thrill and chill of romantic pursuit--are wrapped in swirls of classic blues-rock energy so seductive that the music alone is captivating.

Indeed, that swirl was important Tuesday if you weren’t familiar with the songs because the guitar, drum and bass instrumentation was so overpowering in the sound mix that it was hard to pick out most of the lyrics in an hourlong set that included two new songs as well as material from the trio’s two albums.

There was, however, no way to miss one thing at the Palladium: the surprising change in Harvey’s wardrobe from her Southern California debut last summer at the Whisky.

Then, Harvey wore a black T-shirt and black pants--clothing that helped underscore the importance of focusing on the ideas and impulses outlined in the songs, not sexual stereotypes.

Many of the references in her songs are distinctly female, but others involve emotions that could apply equally to men or women.

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At the Palladium, however, Harvey walked on stage wearing a brightly sequined halter top, matching dark glasses and flashy earrings. But the objective again seemed to be to defy pop stereotypes.

While the clothing was exaggeratedly feminine, her singing and guitar remained as unaffected as before.

Next time through, she might be in coat and tie.

Some performers might be tempted to use dim stage lighting or to act out the struggles and the other heightened emotions outlined in the lyrics. Not Harvey.

The stage was brightly lit Tuesday and she stood almost expressionless as she performed the songs with drummer Robert Ellis and bassist Steve Vaughan.

The approach not only kept attention on the music, but also served as a biting commentary on the visual rituals of most of our male guitar heroes--such as falling to their knees or constantly wincing when reaching for high notes.

In its purity and power, the PJ Harvey band--which was joined on the bill by the well-received English bands Radiohead, an especially accessible group with a huge college radio hit in “Creep,” and Moonshake, a harsher, more alternative entry--displayed an honesty and passion that reaffirmed what the group’s two albums suggested:

This is the most exciting British pop-rock arrival so far in the ‘90s.