Daily Staff Writer

“Tonight the Stars Revolt”

Powerman 5000

Usually these sibling acts are a joke. But Rob Zombie’s brother has this band called Powerman 5000 that is the real deal.

Their new album is called “Tonight the Stars Revolt,” and it rocks steady.

The band uses the same science fiction, B-movie sensibility on this album that White Zombie used, but the similarities end there. This is not a pale copy of big brother.

A quote from J.P. Saticoy’s “An Eye is Upon You” opens the album:

“Spinning complacently in the darkness, covered and blinded by a blanket of little lives, false security has lulled the madness of this world into a slumber. Wake up! An eye is upon you, staring straight down and keenly through, seeing all that you are and everything that you can never be. Yes, an eye is upon you, an eye ready to blink. So face forward, with arms wide open and mind reeling. Your future has arrived … are you ready to go?”

The album plays off of this keynote.

The most notable track is “When World’s Collide,” which is currently getting lots of airplay and for good reason.

It’s like there’s a dirty little rocket ship inside your head going hell-bent for the speed of light. Lloyd Bridges is at the helm macking on some Swedish scientist in a short skirt without the repressed ’50s sexuality.

The whole album feels like one of those old B-movies where suddenly the censors aren’t looking and all those quirky, horny astronauts in “Forbidden Planet” got off the ship, took a handful of acid and started screaming in ecstatic jubilation while Robbie the robot walks around trying to keep Leslie Neilsen off Anne Francis.

It’s hardcore meets sci-fi head on, and everybody wins.

It’s paranoia in a wind tunnel.

It’s a hyperspace trip though Oz, and the Wicked Witch of the West is on your ass, buddy.

PM5K’s cover of The Cars’ “Good Times Roll” makes for a nice tribute. It has all the new wave sass of the original, but the veneer has been rough hewn with shards of glass. The guitars could peel the paint off of a Buick and the Buick would like it.

With an apparent nod towards “Bladerunner,” “Watch the Sky for Me” sounds like it’s straight out of the ’30s. It is a truly old-school croon that helps end the album on a sweet note.

Zombie Junior is an artist in his own right, and if his sensibilities are a bit similar to his brother’s, one can hardly blame him.

This kind of pop culture melding of styles is an untapped resource.

Though a few examples might exist, there is so much more to work with it isn’t even funny.

4 stars

— Greg Jerrett

“This or That”

Sway and King Tech featuring DJ Revolution

Warning: The following CD contains world premieres, dope MCs, incredible DJs, phat classics, and material which may not be suitable for the people with the following medical conditions: Shiney Suit Syndrome, Originalophobia, Lame Hooks Disease, Acute Player Hating Disorder. If you suffer from any of the above please consult a physician before listening.

Just glancing at Sway and King Tech’s new album, “This or That,” you know the CD must be in your sweaty palms. Why? For several reasons.

First, they’re probably three of the best DJ’s you’ll ever hear.

On top of that, rappers like RZA, KRS-One, Gang Starr, Pete Rock, Eminem and Kool Keith contribute intelligent vocal tracks laid over some beautifully crafted beats, ingenious bass lines and unbelievable turntable scratching and spinning.

And if those factors don’t entice you, the front cover is a multi-image hologram that’s more fun to play with than your Pete Rose Topps hologram baseball cards.

From track one to track 32, “This or That,” is a full-fledged audio assault on your ears and mind. Sway, Tech and DJ Revolution set new standards for bass lines, beats and scratching.

And the rappers on this record are enough to most rap DJs quit and switch to re-mixing new Ricky Martin songs with old Menudo hits.

An excellent example of the disc’s high quality talent is “The Anthem,” which features RZA, Tech N9NE, Eminem, Xzibit, Pharoahe Monch (of the Rawkus family), Kool G Rap, Jayo Felony, Chino XL and KRS-One. All nine of these artists are accomplished rappers and they prove it with their innovative lyrics.

Eminem has some of the most memorable lines on the CD: “This place is my house/ I might as well erase my face with White-Out/ Cause y’all can’t see me like Mase’s eyebrows.” The rhymes are funny, yet they do hold some truth to them.

Sorry, Mase, but you’re lame. Good luck with that business degree and gospel music career, though.

So, if you like original hip hop, and you’re not a die hard No Limit soldier, give the album a spin.

And if by some chance you don’t like it, that Ricky Martin/Menudo Ultra-Mega-Mix should be out by Christmas.

5 stars

— Daniel Fjelland

“Title of Record”

Filter

The new disc by Richard Patrick’s industrial-hardcore band Filter marks a departure for the band, suggesting the maturity of a powerful musical force.

The plainly named “Title of Record” is quick to define sounds that can’t quite be categorized but are unquestionably Filter.

The album’s pioneer moments include bongo backbeats and scoured acoustic licks.

However, Filter never fails to deliver the kick in the face of strong and deep guitar fits of rage. Also noticeable are dancing power chords (reminiscent of “Hey Man, Nice Shot” off the debut album “Short Bus”) and coiling guitar solos buried in “Welcome to the Fold.”

Patrick’s lyrics and voice are still mediocre, often pushing the boundaries of noise. However, “Title of Record” features some non-screaming laments that serve “It’s Gunna Kill Me” and “The Best Things” as approachable songs.

There are also a few misplaced mood intersections, like the slow tempo “Take a Picture” and “Miss Blue,” that seem askew when faced with the horror chants of “I can’t believe the things I’ve done to you” from “Captain Bligh.”

“Title of Record” is a musical bar fight that spills into the street and staggers home in a solemn and injured state.

It represents growth for a band that has plenty of raw emotion and drive to keep them amid the fighting force of modern rock.

4 stars

— Ryan Rogness

“Juxtapose”

Tricky

“Some people have to live their lives for real/ But I don’t have to, cause I’ve got a record deal.”

Tricky, born Adrian Thaws, is living his music career for real. Bridging the gap between alternative and hip-hop, Tricky hypnotizes on his latest release, “Juxtapose.”

Mixing throaty vocals with blunted beats, atmospheric electric guitars and turntables, “Juxtapose” marches to the beat of a different drum machine.

Aptly titled for Tricky’s tendency to mix things up, “Juxtapose” has been called “too chill for the dance floor but too abrasive for lounging.”

Tricky planted his musical roots listening to the across-the-ocean sounds of American illsters Rakim, Chuck D and Slick Rick. He began his career in English rap group the Wild Bunch that would eventually evolve into Massive Attack.

Tricky then teamed up with teenage vocalist Martina to release his debut solo single “Aftermath.” The duo would collaborate on all of Tricky’s projects, including 1995’s “Maxinquaye,” which entered the UK charts at No. 2.

Tricky and Martina parted ways on “Juxtapose,” due to Martina pursuing a solo career. However, “Juxtapose” is not without outside talent, featuring DJ Muggs of Cypress Hill and Ruff Ryders/DMX producer Grease.

Grease’s presence is highly felt on the disc, especially on “Bom Bom Diggy,” which features the vocal skills of Mad Dog from London rap outfit London Posse.

“Juxtapose” stays true to its title and will keep a spectrum of artists from Bjork to the Gravediggaz, lining up to collaborate with this English prodigy.

4 1/2 stars

— Sam Johnson

“Truck Stop Jug Hop”

Hot Sauce Johnson

With a growing bandwagon of musicians adding sampling and scratching to their sound, the blandness that once clouded alternative music begins to see sunshine again.

Hot Sauce Johnson takes advantage of this sound-making style to find their own originality on “Truck Stop Jug Hop.”

Catchy guitar licks and talented turntable work give the CD a unique quality worth checking out.

The band adopts a style similar to the one heard on Citizen King’s radio hit “Better Days” but with different vocals.

Hot Sauce frontman Sun Sannes has a voice comparable to the late Bradley Nowell of Sublime. Adding a little more twang from time to time, Sannes isn’t quite as catchy as the late Sublime leader.

Mixing phat drum beats with samples as inventive as ever, the band’s creativity level leaps over the edge.

Beastie Boy producer Mario Caldato Jr. (as in “Mario C likes to keep it clean”) mixed the record, and the b-boy sound definitely shines like a sun beam.

Hot Sauce Johnson has the momentum-gaining power to move up in the music world, so give them a listen so you can say you heard them before they became Big Johnson.

4 stars

— Kyle Moss

“California”

Mr. Bungle

The new directions musical artists often attempt can never measure up to the Bay Area quintet Mr. Bungle.

Consisting of almost every instrument and random sound, the band’s music is nothing short of uniquely enticing.

What saves “‘California” from becoming a mess of rubbish is not the spontaneity or creativity of these efforts — it’s the utter talent of combining every style of music from salsa-based horns to insidious metal riffs or a ’60s doo-wop beat with a cartoon theme song.

The most successful venture is “The Air-conditioned Nightmare” which begins with a stirring terrain of orchestral strings directly thrown into a rough-and-tough surfer jive. As soon as the rhythm grabs you, the tempo halts entirely into an a cappella barbershop anthem.

Such is the theme of “California,” which combines moods, themes and musical styles as diverse as the state of the same name. The construction of a jigsaw puzzle of effects is not only mind-altering and original, it is brilliantly complete. No strings are left untied as each genre-hopping song bounces between states of consciousness.

Definitely not for the weak of heart, Mr. Bungle promises to deliver original and catchy songs that will prompt a patient listener to piece together the fabric of music that “California” so carefully and creatively has torn to shreds.

4 stars

— Ryan Rogness

“Time”

Third Day

“Greater love has not a man/ Than the one who gives his life to prove/ That he would do anything/ And that’s what I’m going to do for you,” sings Third Day frontman Mac Powell.

Writing lyrics as boldly spoken and upfront as his goatee, Powell and his band, Third Day, have carved their niche in the Christian pop rock hall of fame.

The Georgia-based band exploded onto the Christian market in 1994 with their self-titled debut.

With Powell’s lead vocals striking close similarities with those of Hootie and the Blowfish frontman Darius Rucker, Third Day was quickly nicknamed “Christian Hootie” by skeptical fans.

They broke the musical stereotype with 1996’s “Conspiracy Theory No. 5,” which rocked 10 times as hard as the band’s first album, all while staying true to its original fashion by offering praise songs.

The newest album, “Time,” stays true to Third Day’s style of southern-influenced rock ‘n’ roll.

From track to track, “Time” is the union of the Third Day’s previous two projects. The album combines Powell’s “Hootie” vocal styles with hard hitting lyrics flavored by the rock and roll sound the band has become known for.

3 1/2 stars

— Sam Johnson

Ratings based on a 5 star scale.