With a smooth, soft-rock vibe and liberal use of analog synths, The Flower Lane is soaked in a bleary nostalgia that often harks back to the ’70s, particularly on slick, sax-infused lounge piece “Under Cover” and the lightly funky title track. Thankfully, Mondanile’s slacker execution keeps his obsession with retrospection from ever feeling like a gimmick; his songs maintain a dreamy, expansive quality such that influences seem to drift in and out of the ether. The Flower Lane isn’t all abstract meanderings, however. In spite of the album’s lazy pace, it’s surprisingly disciplined and streamlined, free of the tedious navel-gazing that tested listeners’ patience on Ducktails’ previous recordings.
By sticking to tighter song structures and utilizing the full accompaniment of a backing band, The Flower Lane gives Mondanile’s sunny hooks the prominence they deserve, leading to a number of memorable cuts: Peppy opener “Ivy Covered House,” for example, burbles along to a sparkling, breezy guitar riff, while airily seductive “Letter Of Intent” weaves in male-female vocal interplay and a slinky synth groove courtesy of guest Oneohtrix Point Never. Lurking behind the bright, playful tone are somber themes of urban isolation and loneliness, lending a degree of thoughtfulness to the album’s more immediate pop pleasures. On The Flower Lane, Mondanile mostly sticks to what’s familiar, but injects a healthy dose of finesse.
