Fans of independent music are not particularly well-noted for their charity. Hardcore kids may throw a ASPCA benefit every time their cat gets a hairball, and Lord knows those hippies'll ante up for a NORML show, but indie fans have a hell of time giving back to their community. When so much money is going to UK-only 7-inches and live records by Krautrock bands, siphoning a little off the top for the less fortunate becomes increasingly difficult. Besides, one can't plausibly feign catatonic apathy and write checks to Greenpeace at the same time.

Though this is not a good thing for the less fortunate, this stinginess has a surprising perk: a benefit record aimed at the fans needs to bring the rock if these agencies want to better any lives. Consequently, albums like The Amos House Collection, Vol. 1 tend to be exceptionally decent. Loaded with full-fledged luminaries like Aden, Death Cab for Cutie and the Aluminum Group, this particular comp serves as a great survey of easy-going rock.

Like every compilation, the most pleasant moments come from the lesser-known bands. Departure Lounge bats lead-off with the formidable "Straight Line to the Kerb," which starts out sort of spacy and Cocteau-esque before launching into an acoustic ballad. Though it won't win any awards for innovation, it's sure to be a big hit on mix tapes intended to move significant others in the coming year.

Departure Lounge pretty much sets the tone for the rest of this set. Smooth, inoffensive pop music is the order of the day, with even the Aluminum Group ditching their more avant-blah leanings for a folksy lope. The best stuff comes from the bands who do this as a matter of course, like Death Cab and the Ladybug Transistor, but even relative strangers to the form like Wheat get into the spirit of the proceedings. Their "New Boyfriend" is a moody ballad of almost epic proportions, all mumbling and vintage keyboards. Spoon contribute characteristically terse pop strains, and the whole thing closes shop with Delphine's psych-slowcore, bringing Amos House to a winning close.

Unfortunately, compilations like this tend to lose luster over time. Hemmed in by samey-sounding pop songs, it's easy to pass out from saccharine fatigue. Like a friend too willing to do whatever you want to do, it's hard to go long without wishing the damn thing would get a little assertive. Instead, too much here is willing to sit on your couch and stare at you, smiling emptily.

Those reservations aside, Amos House Collection Vol. 1 is loaded with enough winners that it's bound to give up a few long-term gems. Besides, by assuaging liberal guilt during the time of purchase, you can buy the kind of pop music usually tagged "guilty pleasure" without feeling guilty at all.

-Sam Eccleston