Jack White, “Fear of Dawn.”

Jack White is a little like Madonna. The iconoclastic rock musician is a stylistic chameleon whose look and sound have evolved over the his 20-year run in the spotlight. But White’s latest album, Fear of the Dawn, makes it clear that if his eccentric persona demands a simile, then he’s like Tony Stark. White’s new album, his first in four years, is a technological achievement as much as it is a musical one. White’s sound on the album derives from a slew of new guitar effects and production tricks, many of which he’s developed with his lab-coated team at Third Man Records/Stark Industries.

Gone are the days of battling against poorly made plastic guitars and back porch diddley bows. Now Jack White is as geared up and shiny as a “Star Trek” away mission, but the music is gritty, grainy and dark, like a “Star Wars” sequel. Fear of the Dawn is a cyberpunk stew: part Ministry-style industrial aggression, part hip-hop trap beat swagger, part space age bluesman riffing.

“Taking Me Back” is the album’s opener. Also featured on the “Call of Duty: Vanguard” soundtrack, it crackles with staticky overdriven guitar that the magazines and Guitar Center nerds will point out derives from a bunch of weird effect pedals that White has been developing over the last couple of years. For those less versed in the world of guitar geekery, suffice it to say that his tone has been updated from “Lincoln Town Car” gritty to “Silver Space Freighter” gritty.

White’s slick, technology-laden soundscape feels a little like those ’90s music videos filmed inside a stainless steel cheese grater, but with more soul. Instead of drawing on down-home blues musicians like Albert King and Muddy Waters, White is now incorporating the trap beat feel of modern hip-hop. “Hi De Ho” begins with sea sick guitar stabs that give way to Middle Eastern vocal melodies before settling into a bass-heavy groove. A Tribe Called Quest’s Q-Tip raps over a bumping beat that owes more to Gorillaz than George Clinton.

The album’s energy is relentless. Even the few moments of musical repose, like the sparse echoey guitar that opens “Eosophobia,” soon gives way to pummeling drumming and frenetic guitar riffage. “Into the Twilight” begins with weird vocal doo-wops before settling into a manic groove over which anime-sounding girls chirp and coo while synth-laden effects percolate in the background. Thirty-second cut “Dusk” offers the album’s only uninterrupted bit of musical soothing.

The whole album is a mood. “What’s the Trick” has the spastic vibe of someone looking to purchase the maximum amount of ephedrine permitted under he law. “Morning, Noon and Night” offers up some bleepy, bloopy synthesizer vibes to augment the propulsive groove; think Steve Miller Band’s “Fly Like an Eagle” with a fully riled up Jack White on vocals.

Fear of the Dawn is the first of a pair of records White plans to release this year. The second of the two LPs, Entering Heaven Alive is slated to drop July 22. Clearly, White is feeling his oats, as well as staying busy during the pandemic. Fear of the Dawn is a like a cup of coffee made with caffeinated water that you drink to chase a handful of Ritalin before running out to play in traffic as the sun rises.

Follow writer David Gill at Twitter.com/songotaku.