THE MARK INSIDE
Static/Crash
(CCR Entertainment)

The Mark Inside are Canada’s answer to the Arctic Monkeys. Or so their Japanese label would have you believe. Although lacking the hype of the Monkeys, they do share their youth, suburban upbringing and knack for yoking together diverse strains of rock. “Sweet Little Sister” is a leering neo-garage anthem harking back to Iggy Pop, while “Dead Already” recalls the blues-rock of Led Zeppelin by way of the White Stripes. Amid all these references, however, singer Chris Levoir and co. stake a modest claim to originality with inventive songwriting. Recently signed to Maple Music, The Mark Inside may, with luck, soon be following new Canadian acts like Arcade Fire and Broken Social Scene to Japan. DG

REI HARAKAMI
Wasuremono
(Sublime)

Barely visible behind a veil of hair and hunched over his gadgets, coaxing from them a blizzard of breakbeats and ethereal melodies, Rei Harakami is the sterotypical ongaku otaku, yet amid all the generic electronica, he’s a distinctive presence. This record mostly brings together previously unreleased tracks (one of them 17 years old) and new remixes. The one new track, “Niji-zou,” is built out of intricate synth lines that intertwine like spaghetti, while “Ito-guchi” features sweet melodies set against downtempo rhythms. Recommended for Intelligent Dance Music (IDM) heads unacquainted with Harakami’s complex vision, but probably redundant for those with one of his discs already in their collection. DG

DAVID GILMOUR
On An Island
(Columbia)

This may not be a Pink Floyd album, but you’d be hard pressed to tell the difference. What you might discover, however, is that co-written with his wife, On an Island may be the happiest record Gilmour has ever produced. “Smile” is the gem of the set, a standout from his acclaimed Royal Festival Hall performances of 2002 that combines Syd Barrett-esque simplicity with the poignancy of the classic “Wish You Were Here.” On “The Blue” and “Where We Start,” a tone of gentle reverence saves the album from the weight of the antagonistic undercurrents that dragged down The Division Bell 12 years ago. Floyd fans will have to get it, newcomers should start elsewhere, but despite its faults, this album shows a true giant still near the top of his game. Robert Poole

PEARL JAM
Pearl Jam
(J-Records/Universal)

We’ve all been waiting for the next great Pearl Jam album since the days of Ten and Vs. Now the Seattle boys have a new label and hope to deliver. As one of the last living artifacts in the barely twitching body of ’90s grunge, Pearl Jam released a string of disappointments over the past several years. So it’s unfortunate that this eponymous set, while one of Pearl Jam’s strongest efforts of late, is hardly what we all want: greatness. With some promising tracks, Pearl Jam is a step in the right direction but ultimately a failure in the hype department. One can’t help shake the feeling that if the name of the band was anything else, these tracks might not even register on the rock radar. Trevor L. LaClair

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