Send "Adam Green " Ringtones to your Cell 
| Drownedinsound |
 Juno is to blame for a lot of things. Quirky, non-realistically verbose teens, and Michael Cera becoming an on screen father amongst others. However, the soundtrack did bring Kimya Dawson to wider attention, allowing her to ride a career high with the rapidfire 'Loose Lips', and The Moldy Peaches finally got recognition for their naïve genius with 'Anyone Else But You'. Then lots of people bought their album and got confused. Lost boy Adam Green was forgotten, his bawdy easy listening thriving on the juxtaposition of smut and poo with smooth pop music.Sad to say, the man's grown up from his earlier work. Sixes and Sevens suggested it, Minor Love confirms it. There's none of the potty humour of 'No Legs', or 'Who's Got The Crack?', or 'Jessica Simpson'. The only nods to the childish lyrics of yore is the chorus of 'Castles and Tassles' - “Castles and tassles / And flatulent assholes / I love you”. Toilet references and sex jokes are almost entirely excised. Without the humour, this could so easily be lounge singer pop. This is, after all, the man who came up with the so bad it's genius of “I am a goat / In a moat / With a boat”. Without that, what is left? What do you do if you've excised all the silliness?...full text |
| Clashmusic |
| Rough Trade Sometimes it’s almost hard to believe that Adam Green was once the doe-eyed, juvenile soul of American lo-fi folksters The Moldy Peaches. Looking at where he is now - the deep and rumbling voice of contemporary American indie and a sophisticated songwriter to boot - it seems he’s come a long way since his days of coarse wailing about little bunnies and graveyard metaphors. Nevertheless, Green’s talent has always, first and foremost, flourished in his ability to sing about real life with startling honesty and accessibility that the likes of Leonard Cohen and Beck have done before him. Labelled as a bully-slash-singer, Green knows how to push buttons, and ‘Minor Love’ is absolutely no exception to that rule. With echoes of Lou Reed in many of the tracks, including ‘What Makes Him Act So Bad’ and ‘Cigarette Burns Forever’, and faint hints of Green’s previous work with the Peaches in others - ‘Oh Shucks’ - ‘Minor Love’ sees Green marry his roots with the new directions he’s taking, and comparison to the tape recorder fodder of old isn’t so hard make anymore. Opening with the excellent ‘Breaking Locks’, a sneak peek into the album’s grump-infested personality (“I’ve been too awful to ever be thoughtful / To ever be nice”), it’s an anti-folk gallop with a contemporary, mature - and slightly bitter - pop sound....full text |
| Boston |
| It’s hard to trust a prolific musician. If something comes that easily, it doesn’t seem earned. It doesn’t help when the artist’s entire shtick is built on two-minute song sketches that seem thrown together on the way out to the bodega to grab smokes. That’s the essence of an Adam Green record: casual, disinterested, observational humor set to lo-fi rock accompaniment that somehow, against all odds, still ends up being utterly compelling. On “Minor Love,’’ Green’s sixth solo record, he proves adept as ever traversing through the American popular songbook and filtering his findings through a hazy stoner’s smog of absurdity. “Lockout’’ drops mariachi horns and a relatively distorted guitar riff into the mix in the closest approximation of a rousing party song here. “Boss Inside’’ is a troubadour torch song with a foreboding fingerpicked guitar progression and compelling folk-tale narrative tempered by Green’s slouching, flat affect. It would be boring to continue to dismiss Green as an ironist, but it still seems like a big put-on. So what? Maybe he’s simply been through the looking glass and is dutifully reporting back to us earthlings on his travels. As ever, he’s a worthy ambassador. (Out tomorrow)...full text |
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