Whatever the worthiness of the causes, benefit albums can range from the inspired to the time-killing. As put together by Blonde Redhead's Kazu Makino and released on the band's Asa Wa Kuru label, We Are the Works in Progress slots into a general realm of avant-garde electronics and rock, but with sometimes quite surprising leaps -- seeing Terry Riley and Interpol on the same release is a bit of a head-spinner no matter what. Drawing on a variety of new, alternate, and older performances, it's a mixed bag but more enjoyable than not. Blonde Redhead themselves appear twice, once on their own with "Penny Sparkle," a cool-feeling mix of old drum machine beats, lurking textured feedback, and Makino's vocals all feeling almost like the dark flip side of a classic Antena track. The second, "Drip," is an equally spare song with the Liars, but the quicker pace and more tremulous vocals add a sense of unsettled business. Four Tet's "Moma" begins the collection on a gentle, enjoyable note but the Knife's Karin Dreijer-Andersson makes for a more distinct, haunted beginning with "No Face," her wordless vocal parts echoing out over scraping drones. Some songs like Nosaj Thing's "Nightcrawler" and Pantha du Prince's "Bird on a Wire" are polite enough atmospherics if not notably remarkable, though the latter builds toward a brighter, more upbeat second half. Deerhunter's "Curve," in contrast, manages a more gripping approach in its quietness, ambience, and quiet guitar building up to a moodily beautiful ending. Riley's "G Song," a lounge number on what sounds like a keyboard from 1979, might seem sonically out of place from everything around it, but it feels both regret-laden and empty yet playful in its music, set against his contemplative vocals.