Tag: Turn Turn Turn

Power Popaholic Interview: David Brookings

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David Brookings


Check out my interview with David Brookings as we dive into the brand new album “Exposure,” a sharp, hook-filled power pop record packed with melody, wit, and guitar-driven energy. From the opening punch of “Encore” to standout tracks like “Richmond at Night,” “Time Bomb,” and “My Last Little Shred of Youth,” David breaks down the songwriting, recording process, influences, and stories behind the new album.

👉 Album review here!

Power Popaholic Interview: Turn Turn Turn

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Turn Turn Turn


In this lively interview, Turn Turn Turn bring personality, chemistry, and serious songwriting chops to the table as they talk about their new album “All Hat No Cattle.”

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.

👉 Album review here!

Turn Turn Turn and Cut Worms

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THE PRETTY FLOWERS

Turn Turn Turn “All Hat No Cattle”

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.

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“Cut

Cut Worms “Transmitter”

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.

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