Adam Green’s former band has seen its star rise dramatically since the film Juno became a massive, Oscar-nominated hit — the smash soundtrack prominently featured The Moldy Peaches. All of a sudden, Green and his fellow Peach Kimya Dawson’s lo-fi, amateurish folk-pop was being played on Top 40 radio stations. Naturally, this is an ideal a time for Green to increase the exposure of his solo work, but Sixes & Sevens, his fifth solo album, isn’t likely to do so.

Sixes trips over itself repeatedly, as Green follows his muse in whatever direction it leads him with no regard for consistency or cohesion. Sixes & Sevens is sprawling, and not in the good way. Throughout its 20 tracks, he genre-hops at random from lounge pop on “Twee Twee Dee” to gospel on “Getting Led,” to blues-rock on “Morning after Midnight” and hip hop on “That Sounds like a Pony,” with only Green’s David-Wilcox-meets-Stephen-Malkmus monotone to tie things together.

There are a few gems hidden in the bloated proceedings. Green does occasionally abandon the studio sheen and orchestration he’s increasingly championed with each solo release to return to the simple folk he made his name on, but these instances are rare and overshadowed by half-baked genre experiments that should never have made it out of the studio.