In its inaugural entry into the Interpretations series, Growroom Productions has selected 12 eclectic DC and NYC-area artists to tackle a track-for-track cover of Morphine’s Cure for the Pain, an album that some may consider the magnum opus of one of the 90s most indisputably unique and inventive bands.

A seemingly ambitious first entry into the series given the avant-garde instrumentation, songwriting, and general approach to music Morphine took before Mark Sandman’s untimely and tragic demise onstage, it proves to be a great starting point for what will hopefully be many entries in the series. 

For context, the original Cure for the Pain recording primarily consists of unique instruments such as a 2-string slide bass and tritar accompanied by baritone and tenor saxophones and drums. Not exactly a conventional setup for an alternative rock band, but one that proved extremely effective. 

This unconventional nature seems to have lent itself perfectly to reinterpretation. Each artist covers one song each from the album, and many times the artist’s genre and sound are a far cry from the often murky and moody sound of the original. Yet it is almost uncanny how each one seems to tap directly into the soul of Sandman’s compositions and lyrics, reinventing them in a way that strikes a fine balance between remaining true to the original work while providing a new and fresh perspective on the song that ultimately heightens the original.

Take, for instance, the electronic versions of the songs, specifically "All Wrong," covered by NYC-based MKMKMK, and Aleutian Arc’s version of "In Spite of Me." Wildly different that the original versions, they prove to be two of the most interesting tracks, if for anything, due to the degree of departure from the source material.

But there are far more genres represented here. The MOD Orchestra kicks off the album with cover of "Dawna" that seems to venture into psychedelia and post-rock over waves of lush soundscapes. Punk and garage rock are strongly represented by Forrest Fire’s "Mary Won’t You Call My Name" and Badassassins’ (it’s easier to say with practice) "Thursday," both highlights of the album.

However, the most interesting tracks may be offered up in the Gordon Sterling & Candace Mills duet cover of "Let’s Take a Trip Together," and the album closer Miles Davis’ "Funeral" by Dayvd Beach.

These are but a handful of songs on an eclectic album that stuck out to this reviewer. But there is no doubt in my mind that, whether one is familiar with the source material or not, there is something here for most music fans to appreciate. It may go so far as to broaden your horizons musically and inspire you to check out the source material, which any self-respecting music fan should give a listen at least once.

One hundred percent of the profits from the album will be donated to the Public Justice Center to stand up for rights of underserved communities through legal advocacy. The album is available starting September 10 for purchase and streaming services.