Local Musicians Weave Together On 'Patchwork'

Various Artists
Patchwork

When it comes to the compilation CD business, the Now! That's What I Call Music series is the undisputed heavyweight champion.

But a homespun musical quilt can be preferable to such a manufactured blend of rap-rock and dirty pop. And Patchwork, a grab-bag of previously unreleased offerings from indie rock bands -- many of them local -- fits the bill quite nicely.

There are two major reasons why the compilation ultimately works. First, it contains a lot of good songs. This isn't always a given with such collections -- they just as easily can be hodgepodges of remastered album rejects and studio blunders. Patchwork's tracks, while untested and unheard by the music-loving public, are all worthy of a listen.

The second key to the CD's effectiveness is the fact that it manages to steer clear of a stumbling block that gets in the way of most compilations -- cohesiveness, or lack thereof.

A string of songs by different artists is powerful as a whole only when the individual pieces fit well together. Without a detectable sense of flow, a comp -- like any album -- loses some of its punch.

Fortunately, Patchwork progresses smoothly enough and packs a wallop. The compilers have succeeded in sampling the essence of the indie rock scene in North Carolina, as well as Seattle and Lynchburg, Va. With so many creative forces on hand, filler is expectedly absent -- there are no missteps.

Kicking off with the up-tempo "Constant Change" by Bodi-Gram, the CD goes for the throat early, never failing to present likable and listenable tunes.

"Machine Song" by Disband has a contradictory title considering how vibrant and alive the instrumental track is with its precise guitars and rolling drumwork. There are a number of highlights, including following tracks by Transportation and Cold Sides.

The roster addition that will ring the loudest bell for casual listeners is Superchunk. The local rock legends contribute a live version of "Low Branches," the studio version of which appeared on the group's 1999 album, Come Pick Me Up.

Of course, being the most famous doesn't translate automatically into being the best. Superchunk's live cut is a restrained and quietly beautiful number complete with gently swaying guitars, but it doesn't necessarily eclipse the other selections. Each of Patchwork's songs is a well-woven piece of music.

Most of these tunes have all the characteristics of mainstream-skirting slacker rock. The vocals are alternately lazy and impassioned, the rhythm sections churn and bubble behind the searing leads, and there's plenty of distorted guitar fuzz to keep the music satisfyingly raw.

Which isn't to say that these songs are merely slight variations of each other. On the contrary, the CD features fast tunes, slow tunes, loud tunes, soft tunes, poppier tunes and punkier tunes. For example, The Dynamite Brothers' "Whatcha Gonna Do?" is a fiery romp with a tinge of blues. Later, Vroom's "Bored With Overindulgence, Poverty Became Fashionable" takes a less-frenetic route ridden with more-structured guitar work and clearer vocals.

In the end, the sum of Patchwork's parts is very large indeed.

The Arts & Entertainment Editor can be reached at artsdesk@unc.edu.