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 theyâve sharpened their identity into something closer to a modern country act with strong pop instincts.
The album opens with âAntietam,â a gospel-tinged track that puts those harmonies front and center right away. âCitiesâ shifts gears with a mariachi-style rhythm, adding variety without losing momentum, while âMagnolia Treeâ offers a softer, more reflective moment. As the record unfolds, the sound tilts more toward pop, though the songwriting never loses its roots. And thereâs no shortage of hooks here. âTroubleâ rides a lively honky-tonk groove and stands out as an easy highlight, while âSeriousâ has a smooth, swaying feel that sticks with you. âManitowocâ features standout pedal steel work and feels closest in spirit to Levyâs work with The Honeydogs. Barb Brynstadâs âHungry Ghostsâ channels the melodic sensibility of Fleetwood Mac, especially the style of Christine McVie, and ranks among the albumâs strongest tracks.
This isnât 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 âTransmitter’, 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 â60s-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. âTransmitter’ is the result of Clarkeâs time in the loft and Tweedyâs influence pleasantly oozes out. Highlights of the ten tracks include âWalk in an Absent Mind,â âShut In,â and âDreamââ 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, Clarkeâs lyrics feel more intimate too, capturing deep feelings of fear and anxiety, as well as hope and loveâthough some lines are a bit on-the-noseââMy days are numberedâŚI canât handle the truth,â he whines on âBarfly.â Still, itâs clear heâs got a lot to say. Tracks like âWalk in an Absent Mindâ evoke not only Wilco, but Elliott Smith and Iron & Wine; theyâre gentle and, yet again, intimate. On the other hand, tracks like âLong Weekendâ and âDonât Look Downâ are more intense, recalling indie twang contemporaries like MJ Lenderman. On a third hand, the final track, âDream,â has an entirely different vibe, an extremely solemn one that concludes the album with a haunting piano tune and crushing lyrics like, âWhat if I canât find my way back home to you? ⌠Itâs over too fast.â Though Clarkeâs 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.
We get into the real stories behind the songs, how Stevensonville came together, and why this album hits differently from anything heâs done before. If youâre into artists who care more about great songs than trends, this conversation is for you.
đ Album review here!
The Uni Boys return sharper and more focused, leaning fully into the sound they hinted at early on. While they share some overlap with The Lemon Twigs, Reza Martin and Noah Nash continue to carve out their own lane when mining the past. Pulling from the Nerves, The Paley Brothers, 20/20, and Milk ‘N’ Cookies. It lands somewhere between scrappy and polished, with a clear nod to late â70s L.A. power pop. The Uni Boys bring enough energy and conviction to make it feel fresh rather than recycled.
The production keeps things tight and direct. No filler, no gloss, just hooks and melody driving every track. This is where the Uni Boys sound most natural. Thereâs a balance between heartache and optimism that gives the record its staying power. The Beatlesque âYouâll Curse His Name Againâ speeds along, while âI Donât Wanna Dream Anymoreâ hits with a quick, upbeat punch. Both tracks feel loose and fun, like the band is enjoying every second. That energy carries through the album and pulls you in. âAbraâ is a dramatic ballad with layered harmonies, while the mid tempo âGenevieveâ lifts things with its brilliant chord changes and a baroque piano break. That makes this their strongest release yet. Without a doubt it makes my top ten for 2026 list. Super Highly Recommended.
Lukah Boo (aka Antonio SĂĄenz) is a Madrid based singer and guitarist, whoâs also known with the band The Happy Losers, one of the best Spanish speaking power pop bands ever. Occasionally I listen to foreign language power pop, because I love a great hook. And Lukah does too.
The opening title track translates to âBreathingâ and it begins with piano and lovely vocal harmonies. It transitions to strong melodic guitar and verses, and the joy comes through in the music. No translation needed. There are some English ballads here, âThis is What It Is,â âLike Any Other,â and âA Fool,â and they are heart felt and sound akin to Gilbert O’Sullivan. Other highlights include  “Lo bien que me he portadoâ and “Aquella luz.â Overall an enjoyable listen, and if it had more songs like the title track, it would be even better. Check it out.
