This interview digs into the records and ideas behind their music, with clear ties to bands like Big Star, The Byrds, and The Kinks, while staying rooted in today’s indie scene. If you care about strong melodies, tight arrangements, and guitar-driven songs, this interview gives you a closer look at a band pushing that style forward.
The Pretty Flowers, an indie rock band from Los Angeles, are on their third album and have a strong passion for both punk from the 1980s and power pop from the 1970s, as well as melodic indie rock from the 2000s. The bombast of “Big Dummy,” highlights our chaotic anxiety and “Came Back Kicking” hits even harder, driven by sharp guitars and tight rhythms that recall late 80s college rock with a modern edge. The opener “Thief of Time” is another winner with its jangly, melodic hook that sticks fast.
What stands out is the songwriting. The lyrics carry tension, frustration, and small flashes of hope, often in the same breath. On “Convent Walls,” he takes a direct shot at corporate control and shrinking space, while “Ring True” pushes forward with a raw punk wall of sound. Even when the tone gets heavy, the melodies stay accessible. Musically, the band pulls from a wide range of influences without sounding derivative. You will hear traces of The Replacements and nods to The Cars and U2. ‘Never Felt Bitter’ delivers strong hooks, varied songwriting, and a clear sense of identity. If you want a modern indie rock record with power pop DNA and real substance, this one earns your time. Highly Recommended.
David Brookings and the Average Lookings are back. Brookings started out in Richmond, Virginia, then he headed west to LA and then Memphis. Thats where he recorded three albums at the famous Sun Studios. Opening track, “Coldwater Canyon” has a relaxed Southern vibe with catchy pop verse (even if he is talking about California).
Like other songs in Brookings past,“Exposure” has an element of humor. In this case it’s about the promises of fame, and the words of a fast talking producer selling the band. Other songs have a great pop bounce like “It’s Giving Cringe” and “Where Did I Go Right.” We also get a retro-styled ballad about “My Last Little Shred of Youth,” about a feeling we all get growing old. Highlights include the heartbreak of “She Dissed You Too” and a biographical ballad about his wife “Shelby.” Overall, a great sounding album with plenty of worthy gems. Highly Recommended.
Led by Adam Levy, alongside Savannah Smith and Barb Brynstad, this trio has deep roots in the Minnesota scene, and it shows. Their sound blends tight harmonies, sharp lyrics, and a pop sensibility that sticks after one listen. We get into how their collaboration works, and why their take on Americana feels fresh without losing its roots.
If you want music with strong melodies and real personality, this is worth your time.
Adam Levy (of The Honeydogs), Savannah Smith, and Barb Brynstad come together through a shared love of tight vocal harmonies rooted in 60s and 70s country, folk, and pop. All three hail from Minnesota, and their chemistry drives a warm, hook-filled take on Americana. Early releases leaned into jangly textures reminiscent of The Byrds, but over time they’ve sharpened their identity into something closer to a modern country act with strong pop instincts.
The album opens with “Antietam,” a gospel-tinged track that puts those harmonies front and center right away. “Cities” shifts gears with a mariachi-style rhythm, adding variety without losing momentum, while “Magnolia Tree” offers a softer, more reflective moment. As the record unfolds, the sound tilts more toward pop, though the songwriting never loses its roots. And there’s no shortage of hooks here. “Trouble” rides a lively honky-tonk groove and stands out as an easy highlight, while “Serious” has a smooth, swaying feel that sticks with you. “Manitowoc” features standout pedal steel work and feels closest in spirit to Levy’s work with The Honeydogs. Barb Brynstad’s “Hungry Ghosts” channels the melodic sensibility of Fleetwood Mac, especially the style of Christine McVie, and ranks among the album’s strongest tracks.
This isn’t power pop, but the blend of bluegrass, country, gospel, and pop lands with real appeal. If you value strong melodies and tight harmonies, this one earns your time. Highly Recommended.
Guest Review by Jack Serpick
With his new album ‘Transmitter’, singer-songwriter Max Clarke, known by his stage name Cut Worms, ventures into new territory. In a brave choice that feels personal, Clarke drops the ‘60s-style reverb that many fans have come to associate him with. In 2017, the Ohio native released his debut EP, ‘Alien Sunset,’ with Jagjaguwar and attracted a following through a streak of passionate live performances, opening for artists like Foxygen, Nick Lowe, the Growlers, the Lemon Twigs, Mild High Club, Wolf Parade and more.
Clarke has since released three well-recieved studio albums with Jagjaguwar, each with that signature vintage sound. Clarke spent the summer of 2024 on the road with Wilco, after which, Jeff Tweedy invited him to record at his loft in Chicago, where Clarke studied illustration at Columbia College of Chicago before kickstarting his solo career in Brooklyn. ‘Transmitter’ is the result of Clarke’s time in the loft and Tweedy’s influence pleasantly oozes out. Highlights of the ten tracks include “Walk in an Absent Mind,” “Shut In,” and “Dream”– the first of which is particularly Wilcoesque, with intimate and weary vocals. A contemporary comparison that immediately comes to mind is one of my favs, the Queens band called Frog.
Like his vocals, Clarke’s lyrics feel more intimate too, capturing deep feelings of fear and anxiety, as well as hope and love–though some lines are a bit on-the-nose—“My days are numbered…I can’t handle the truth,” he whines on “Barfly.” Still, it’s clear he’s got a lot to say. Tracks like “Walk in an Absent Mind” evoke not only Wilco, but Elliott Smith and Iron & Wine; they’re gentle and, yet again, intimate. On the other hand, tracks like “Long Weekend” and “Don’t Look Down” are more intense, recalling indie twang contemporaries like MJ Lenderman. On a third hand, the final track, “Dream,” has an entirely different vibe, an extremely solemn one that concludes the album with a haunting piano tune and crushing lyrics like, “What if I can’t find my way back home to you? … It’s over too fast.” Though Clarke’s range is impressive, Transmitter taken as a whole feels a bit scattered. Still, several tracks will no doubt make appearances in many spring playlists, including my own.