The Observer, April 25, 2008
Volume XL, Issue 26
Former Moldy Peach releases diverse new indie-soul album, complete with gospel choir
It's not often that one comes across an album to which the classification of indie-soul can be applied. Songs featuring both gospel choirs and country rhythms are just as rare. And while rock is the heaviest influence in Adam Green's Sixes & Sevens, the ubiquitous impact of a collection of distinct music styles is unmistakable.
Released on March 18, Sixes & Sevens is Green's fifth solo effort. The former member of The Moldy Peaches has made a name for himself with his innovative and unusual musical choices. His newest album, a 20-track experience, once again features a signature sound that only extensive experimentation can bring about. The result is not only unique, but also very successful, providing a pleasurable 48 minutes.
Sixes & Sevens features an orchestra's worth of instruments producing incredible sounds that few other indie rockers can match. Everything from piano to strings to woodwinds is included, along with the standard fare of guitars, drums, and synthetic noise. Adam Green even recruited a gospel choir for this album. They can be heard in a number of tracks, though they are most prominently featured in "Morning After Midnight." The inclusion of a choir is nothing short of pure genius and it really works on this album, adding depth and interest to already more than competent tracks.
"Drowning Head First," a duet reminiscent of "Anyone But You" by The Moldy Peaches, similarly promises to be a hit. It has all the required components: a guy, a girl, and catchy lyrics. The standout on this album, however, is "Cannot Get Sicker," due to a resonating beat and a perfect juxtaposition of Green's voice along with those of his choir.
Green includes a couple tracks that seem somewhat experimental, including "That Sounds Like a Pony" and "Exp. 1." The fact that these songs work within the album speaks volumes about just how cutting-edge Sixes & Sevens is. The truth is, Green is quickly becoming an icon in indie music and anything he produces will probably be greeted with enthusiasm. And frankly, he'll most likely deserve the praise; he knows what he's doing and he's very good at it.
The range of music types that Green pulled from to create his newest album is incredible. Sometimes you would swear that you're about to hear a song by The Temptations or The Supremes. At other times the album hits a completely different part of the spectrum, with tunes suggestive of country and blues. Somehow these diverse selections are pulled together in a surprisingly coherent manner, all linked by Green's relaxing vocals.
The closer, "Rich Kids," is a song that manages to lament and celebrate at the same time. It fits nicely with the rest of the album, bringing it to a soft, satisfying, introspective conclusion.
Green's music provides plenty of entertainment to any kind of listener. Those who superficially listen to the album will find just as much pleasure as those who pay careful attention to the thoughtfully planned sounds and insightful and often humorous lyrics. It's obvious that Green enjoyed making the album. And one can't help but to be swept up in the fun. With a combination of diverse sounds and catchy lyrics, Sixes & Sevens provides a one of a kind experience and is definitely a winner.
