Grey's Anatomy Soundtrack by Various Artists (CD, Sep-2005, Hollywood) NEW

The TV medical drama Grey's Anatomy presents itself as a younger, hipper, ER. It is an eclectic series with eclectic, very good-looking characters. But for all its stabs at intensity, it is a definitely lighter emotional cocktail as well, with more banal characters often far more intent on who they will date than who they will save.

The soundtrack mimics these two ends of the spectrum. On the one hand, we hear mostly independently-released, relatively off-beat music, including tracks by experimental jazz trio Medeski, Martin & Wood, indie breakthrough act The Postal Service and singer/songwriters Maria Taylor and Ben Lee. And yet, this is, for the most part, eminently commercial fare, romantic in content, pop driven (save for Medeski, Martin & Wood's "End of the World Party"), up tempo, and-since this is a show populated by pretty girls-there are a lot of songs performed by women.

The opening track, "Such Great Heights," sets the tone. It is cute and smart, and rolled up in a catchy package that begins with an electronica vamp and up tempo percussion. The verses trade vocals that then join in the breathy chorus, set over keyboards, scratching and electronica bleeps.

Similar in pace is "Where Does the Good Go," performed by the sibling team of Tegan and Sara. They sing about the man who leaves the girl behind, heartbroken, uncomprehending but relentless. "Look me in the eye and tell me you don't find me attractive?" they ask provocatively in the syncopated pre chorus, harmonizing over a guitar vamp.

A more, "pure," songwriter sound is heard in Mike Doughty's "Looking at the World From the Bottom of a Well," and even more clearly in the subsequent "The City," performed by the husky-voiced Joe Purdy and "Wait" by Get Set Go. It kicks off as a simply male vocal with guitar, then becomes Beatlesque in a wash of instruments and melancholy.

The biggest departure comes from the aforementioned Medeski, Martin & Wood and their "End of the Year Party," the only instrumental track on the album. It is a blend of synthesizers, electric guitars, programming and drums with funk feel.

The familiar is tugged with Inara George's version of Joe Jackson's "Fools In Love." This is a no-fail track, so fine in its well-memorized opening phrase: "Fools in love. Are there any other kinds of lovers?"

But George gives it a different dimension with her muted, steady guitar arpeggios and haunting, breathy vocals. It is simple and effective, and a sharp contrast to the dance electronica sound of the ending "Cosy In the Rocket," performed by Psapp.

The duality again reminds one that Grey's Anatomy, like its soundtrack, is a show for different sensibilities and commercial, yet eclectic ambitions.

By Leila Cobo