Lush, Gorgeous Psychedelic Pop and Vintage Folk-Rock from the New Mendicants
The New Mendicants – the Pernice Brothers’ Joe Pernice, Teenage Fanclub’s Norman Blake and the Sadies’ Mike Belistky – blend classic psychedelic and powerpop sounds from the 60s and 70s while adding their own wickedly tuneful edge. This supergroup of sorts absolutely nails a whole bunch of styles from the UK from around 1965 to 1975. Their new album Into the Lime is streaming at Spotify…and it’s also available on vinyl!
The trio open it very auspiciously with A Very Sorry Christmas, its growling, Badfinger guitars, a little bit of of a shuffling Ringo feel from Belitsky and some Big Star blending in as well. “I’ve hurt so many people on the way, on a very sorry Christmas Eve, I wonder if the ghosts will ever let me be,” Blake laments. The second track, By the Time It Gets Dark is an optimistically catchy, gorgeous folk- rock ballad spiced with glockenspiel (although the litany of cliches that serves as the first verse needs to go). The bouncy Cruel Annette blends the mod pulse of late 60s The Who with jaunty, slightly vaudevillian early 60s Beatles. After that, the delicate, McCartneyesque acoustic waltz Follow You Down is quite likely the prettiest song ever written about a suicide pact.
The genuine classic here is High on the Skyline, an enigmatically alienated folk-rock anthem that’s equal parts Strawbs Britfolk and lushly clangy, twanging Byrds. “I’ll show you how deadly close faraway can be,” Blake intones in his stately delivery. If You Only Knew Her is similar musically, but more Beatlesque, sort of like a more fleshed-out take on Here, There and Everywhere. The trio follow that with the most modern-sounding track here, Lifelike Hair, a third-generation garage-psych rock tune with a hypnotic Brian Jonestown Massacre vibe.
It’s not clear at all what the title track is about, other than a lament for a vanished girlfriend: “The killing joke, the killing moon, the killing of me softly with this song,” Blake croons over a lushly orchestrated, sunnily attractive chamber folk melody. Sarasota blends elements of Motown and chamber pop into an absolutely surreal Florida scenario that might or might not be a murder mystery. The album winds up on a high note with the blistering neo-mod rock hit Shouting Match, a dead ringer for Connecticut pub rock legends the Reducers. The whole thing is one of the most tuneful collections to come over the transom here this year and a strong contender for one of 2014’s best albums.