(hed) p.e. “Blackout” (Jive)< br>Compare to: Deftones, Korn, Mudvayne

Rating: 7 1/2

Don’t let tours with bands such as Linkin Park and Papa Roach early in (hed) p.e.’s career fool you. They’re not to be lumped in with other rap/rock acts or nu-metal bands.

(hed) p.e.’s “Blackout” puts them three albums into a career that features a unique brand of hip-hop flavored rock music with dashes of metal and even electronica.

“Blackout” is a sure sign of (hed) p.e.’s maturity since entering the music industry amidst a wave of rap/rock bands. Songs such as “Crazy Life” and “Half the Man” depict some of the emotions frontman Jahred has gone through living more days on the road than at home.

As far as what to expect musically on “Blackout,” (hed) p.e. is consistent at being inconsistent. But a steady helping of crunchy guitar and a mixture of beautiful screams and flavorful funky vocals make each song work.

The band’s maturity comes clear in more organized song structure than was heard on albums like 1997’s self-titled debut and even 2000’s “Broke,” though “Blackout” picks up right where “Broke” left off, as far as breakthrough rock music goes.

Jahred has noticeably worked with his singing voice to better complement his rapping and blustering vocal qualities. Songs such as “Bury Me” and “Dangerous” demonstrate his diverse abilities as a frontman.

Produced by Machine (White Zombie, Pitschifter), “Blackout” has a crisp sound and a flow from song to song that keeps a certain level of relaxed intensity. At times, Jahred’s vocals mixed with the straight-up (hed) p.e. rock riffs gives an impression of the type of music a coherent Ozzy Osbourne would be making in today’s rock industry.

As (hed) p.e. showed on “Broke,” they have the ability to slow it down and express their art on different levels, shown on this album with “Half the Man.” But it’s songs like the album’s title track, “Suck it Up,” and “Crazy Life” that set this album and this band apart from their peers.

— Kyle Moss

VonRay “VonRay” (Elektra)< br>Compare to: Pearl Jam, Third Eye Blind, Seven Mary Three< br>Rating: 6 1/2

Things are a little bit bigger in Smallville then they used to be for VonRay.

The Louisiana-based quintet, which recently went onboard with Elektra Records, has been pushed to the top of the label’s priority list. Elektra’s promotional team was able to get the first track, “Inside Out,” on the Warner Bros. “Smallville” soundtrack. By doing so, Elektra has forced VonRay’s name out in the open. Hopefully, the public can tell them apart from the already oversaturated rock radio market they’re entering.

VonRay was first started by its namesake, Vaughan Rhea (vocals, guitar) and brother Dave Rhea (bass, vocals), and then added Garrett Coleman (rhythm guitar, vocals), Todd Hackenburg (lead guitar) and Jeff Irizarry (drums). But unlike other up-and-coming, straight-laced rock bands, VonRay sets itself apart by being able to completely rock out without losing its grip on reality and by remaining melodic without sounding too sweet.

All of the tracks on VonRay’s recent album could be translated into an awesome acoustic melody. Rhea has a very mellow and common voice that sounds somewhat like Jason Wade of Lifehouse. The guitar-heavy licks may not be completely innovative, but they still set the band apart from the crowd.

There are a total of 11 tracks on the new album, and each one seems to be a hit just waiting for its chance to bloom. The album starts out with the hit single “Inside Out,” and then continues with the rage-filled track, “Part Of Me,” a song about abuse built around the chorus, “Part of me doesn’t care/ Part of me wasn’t even there.” Finally, the album comes to a conclusion with the ethereal closer, “Unstoppable Wave.”

VonRay may be similar to a lot of radio rock, but they don’t dumb it down like some artists do. With spiritual lyrics and above-average guitar work, this is one band that doesn’t need to worry about being lost in the crowd.

— Laura Willcoxon

Reggie and the Full Effect “Under the Tray” (Vagrant)< br>Compare to: The Get Up Kids, Saves the Day, Weezer< br>Rating: 7 1/2

Fusing multiple genres and moods with Moogs and strange skits, Reggie and the Full Effect once again flexes its slapstick, yet surprisingly sincere muscles.

“Under The Tray” is, in one word, inimitable. Reggie and the Full Effect has an impeccable knack for effortlessly combining the silly and absurd with the sober and sincere on the same album. Not many other bands or albums can walk the thin line with as much precision and steadiness as Reggie and the Full Effect and “Under The Tray.”

The band has two stories — one factual, one fictitious. James DeWees (The Get Up Kids, Coalesce) is the frontman — and only man — of Reggie and the Full Effect. However, a fictitious account claims that Reggie and the Full Effect first emerged in 1999 when “old” recordings surfaced. Long thought destroyed in a suspicious fire, the tracks were released as “Greatest Hits ’84-’87.” “Promotional Copy” followed in 2000.

“Under The Tray” finds the band creating some of its sharpest work to date. From the hardcore-influenced “Apocalypse WOW!” to the new wave, electro-pop “Mood 4 Luv,” DeWees melds multiple influences, competent songwriting and cheeky charisma on “Under The Tray.”

The only downside on an otherwise upbeat album is that some of the tracks sound like rehashed material. Even track names hint at this familiarity — “Congratulations Smack and Katy” on “Under The Tray” versus “Congratulations Matt and Christine” from “Promotional Copy.”

Despite a predictable formula and familiar sound, “Under The Tray” does have listener value, if for nothing more than pure, unabashed entertainment with a pinch of substance.

From the slurring antics of “Drunk Girl At The Get Up Kids Show” to the Norwegian homage to punk, metal and grammar of “Linkin Verbz,” Reggie and the Full Effect continues to push the boundaries between the intelligent and the infantile.

— Erin Randolph

Sworn Enemy “As Real as it Gets” (Elektra)< br>Compare to: Hatebreed, Madball, Sick of It All< br>Rating: 6

Admit it — in these times of rock stars who don’t act like rock stars and metal music that is too concerned with its inner feelings for its own good, it’s nice to hear someone come out and just get violent again.

Sworn Enemy vents with angry lyrics like, “You want to talk shit about me and my family/ Disrespect my kind/ I’ll pound your fucking face out/ Sworn Enemy from Queens New York/ Motherfucker!”

The band has its roots deeply planted in the gloried past of the New York hardcore scene, but has also spent a good deal of time with metal acts like Slayer and Suicidal Tendencies.

Because of its unique background, Sworn Enemy is a whirlwind mix of hardcore, punk and thrash metal that is “As Real As It Gets.”

Fair or not, though, these five Queens natives will continuously be compared to hardcore allies, Hatebreed.

Sworn Enemy is part of Hatebreed frontman Jamey Jasta’s record label, Stillborn Records. Jasta believed in the album so much, he even produced this record.

What Jasta should have done was teach Sworn Enemy vocalist Sal LoCoco a thing or two about singing.

LoCoco is the main reason this band isn’t quite ready to pick up the hardcore torch.

On tracks like “Days Past” and “My Misery,” he is able to convincingly convey plenty of emotion with his angst-driven lyrics, but he also displays a voice that doesn’t match well with the metal backdrop backing it.

In fact, his voice doesn’t seem cut out for 30 minutes of intense screaming.

Despite the neck-snapping grooves and double kick-drum work of drummer Paulie Antignani, the album just comes off as flat; there’s not enough to sustain an entire 10-song disc.

Halfway through, you’ve pretty much heard Sworn Enemy to its fullest.

— Trevor Fisher