Introductory Letter from the Editor
As the Summer of 2024 moves full speed ahead, welcome to the revamped format of The 706 Digest!
Beginning this month, we’re looking to return The Digest series to its 2021 roots, and make it well, more digestible, to both read and create. That means re-establishing this particular feature as a synopsis of the preceding month’s musical releases, and providing myself with a little relief as a catch-all column, especially in months where it proves more difficult to keep up with a rapid-fire release schedule.
With all of that said, this does not mean the site is moving further away from comprehensive album releases. In fact, the month of June saw us dishing out album reviews at a rather furious pace, and we’ll provide links to these reviews as they’re applicable throughout this Digest. You’ll also notice some reorganization of our archival content in the weeks ahead, as we look to make it easier to find past reviews for specific albums and artists on a more singular basis.
Overall, this shift will also allow a heavier focus on both future editorial content, specific artist features, and retrospective pieces, which honestly rank among my favorite articles to write (and there’s a mighty backlog of drafts and wish-list content in the vault BTW). The Digest meanwhile will provide an overview of big album releases, continue to feature single reviews, though in a more abbreviated fashion focusing solely on my favorite cuts of the given month.
Thanks for reading and all of your support!
Joe
Editor/Columnist
LSD, the Night Sweats and the Decemberists Lead June Roots Releases
Heading into the month, the two releases I was most excited about were the returns from Lake Street Dive and Nathaniel Rateliff & The Night Sweats, and overall both albums delivered results worthy of this anticipation. LSD remains on an exciting trajectory, with their melting-pot sound only growing more vividly colorful with each release. Their new album lays off the heavier themes of its predecessor with a treasure trove of feel-good bops, but does leave room for some undeniably potent moments of reflection nonetheless. Meanwhile, if you’re seeking more pensive introspection, the new Night Sweats record offers a deeper well of folk-tinged musings while Rateliff and company seek out a more folk-rock-leaning soundscape. This means hardcore followers will have to contend with a considerably scaled back presence of the brassy Stax sound that put the group on the map, but the merits of this release are ultimately not impacted by the sonic swap. The record in the roots sphere that really grabbed me the most however is The Decemberists’ latest, which is a tremendous return-to-form that indulges in all of the rootsy folk-rock complexities that has always separated the band from the rest of the scene in the first place. The jangly and haunting trappings of this record follow me into my dreams, and the thoughtful and evocative storytelling of Collin Meloy continues to reach captivating new heights.
Country’s Month of Riches
The roster of country music releases provided a wealth of riches for us to enjoy throughout June, as the genre as a whole continues to enjoy its buzziest cultural moment in decades. And while you still may need to dig deep to find some of the genre’s very best moments, this month was strong evidence that the entire format, be it mainstream or otherwise, is on a positive artistic upswing overall. Two of Music Row’s most prominent hitmakers, Luke Combs and Carly Pearce both leaned hard into more organic country and bluegrass flavors on their new respective records, the Father’s Day drop Fathers & Sons and the long-awaited Hummingbird. Sara Evans meanwhile delivered Pride, an album worthy of her peak-period run that originated as a divorce record for a split that ultimately never occurred. The resulting dinner-table conversations must have been awkward as hell, but the music itself is her best in years. An excavated batch of Johnny Cash demos from 1993 was expertly crafted and curated by John Carter Cash and squad of ace musicians and producers on Songwriter, a fascinating nostalgia ride back to Cash’s pre-American Recordings period that dutifully earns a respectful place in the Man in Black’s discography. And as if that weren’t enough, we were also treated to a star-packed, countrified Tom Petty tribute album that pleasantly surprises as one of the best such-efforts in some time, as well as a strong return from gracefully-aging country bombshell Lorrie Morgan, and a positively masterful, C&W-meets-musical theatre themed concept album from Kaitlin Butts, which yes has a its own review ahead in the coming days..
Loom, Forever, Timeless
June’s slate of marquee pop and rock releases was a bit lean, after a heavy-hitting spring, and with a stacked second half of the summer ultimately on deck. For my money, Meghan Trainor occupies the winner’s circle in this realm with her sixth studio set, Timeless. Trainor seems to have finally struck a perfected balance between the beat-driven pop that failed to sustain her early chart success and her doo-wop/retro-pop signatures that provided her novelty breakthrough, and clearly represents where her heart is as an artist. Kudos to her for following that path rather than continually chasing the chart success that she seemed destined for during her Best New Artist run as pop’s brief it-girl. And speaking of shameless chart chasing, Imagine Dragons have released Loom, their sixth LP and first in two years. A new ID record is sort of like a political debate; there’s bound to be a helping of cringe but you’re unlikely to find anything that’s going to change your prior opinions. That said, Loom does occasionally deliver their most cohesive sonic moments since their first album, which remains their best. Finally, Bon Jovi released Forever, the legendary band’s sixteenth album and first since the well-documented vocal issues that have befallen leader Jon Bon Jovi. Thankfully the band has long since nestled into their legacy-arc roles as an amiable AC-pop group in the studio rather than the glam-rock of their heyday. Sadly, even those lighter stylings tend to occasionally overpower JBJ throughout the album, though there’s no denying the palpable sincerity he still pours into both his performing and songwriting.
June’s Best Singles
Kelsea Ballerini and Noah Kahan- “Cowboys Cry Too” (Black River)
Ballerini’s artistic trajectory and Kahan’s current pop-culture moment both stand to continue skyrocketing thanks to this tremendous collaboration, a poetic and beautifully harmonic take-down of society’s toxic definitions of masculinity.
Zach Bryan- “Pink Skies” (Warner)
An excellent preview of The Great American Bar Scene, heavily rumored for a July 4th drop-date. The opening verse alone serves as continual proof to Bryan’s unique and soulfully keen sense as a lyricist: “The kids are in town for a funeral/So pack the car and dry your eyes/I know they got plenty of young blood left in ’em/And plenty nights under pink skies you taught ’em to enjoy.”
Coldplay- “Feels Like I’m Falling In Love” (Parlophone)
An entrancing slice of pure but hazy pop romance, like only Coldplay can deliver. Chris Martin’s vocals remain among the most evocative in all of music.
Luke Combs- “The Man He Sees In Me” (Columbia)
Arguably Combs’ best single to date, and the cornerstone to what is indisputable in my mind as his best album yet. This immediately ranks among classic country fatherhood anthems from the likes of Conway Twitty and George Strait.
George Ducas- “Mr. Guitar Man” (Loud Ranch)
Thirty years ago, George Ducas delivered a fabulous, Orbison/Yoakam-recalling sophomore single before becoming one of the great missed opportunities of country’s 90s gold rush. His reemergence as a recording artist over the past ten years deserves your attention, and this shuffling Bakersfield delight is the perfect spot to start.
Justin Townes Earle- “Dreams” (New West)
I’m immediately intrigued by any vault recordings from the late, great JTE, though I do hope we can eventually travel back to his pre-New West days as well. He tackles the Fleetwood Mac standard with the kind of brooding, haunted melancholy that you’d expect.
Sara Evans- “Sorry Now” (Melody Place)
Evans has always been a reliable source for satisfying my shameless country/pop/rock sweet-tooth, and “Sorry Now” fulfills this task better than most in recent memory. Catchy as hell, and it packs a mean vocal wallop as well.
Fontaines D.C.- “Starburster” (XL)
A thrillingly captivating wall of sound that incorporates expansive influences of trance-pop, alt-rock, psychedelia, and pure Hip-Hop. I certainly plan to do some digging into this group’s back-catalog as we inch toward their upcoming August release.
Foster the People- “Lost in Space” (Atlantic)
A delightfully whiplashing amalgam of trippy and infectious sounds that will have you instantly foaming at the mouth for the release of FTP’s long-awaited return album, their first in seven years. The time away has been good to them.
Ariana Grande featuring Brandy and Monica- “The Boy Is Mine (Remix)” (Republic)
Yes, I’m old enough to vividly remember Brandy and Monica’s chart take-over with their R&B classic in 1998. While I was exhausted by its excessive airplay back then, it’s an undeniably solid piece of 90s pop nostalgia these days. Its commingling with Grande’s wholly satisfying single isn’t really necessary, but nevertheless satisfying.
Cris Jacobs featuring Lee Ann Womack- “Lifetime to Go” (Soundly)
If you’re hunkering for some new and rich mountain-inspired music to indulge in, Cris Jacobs should be your new go-to. Per usual, Lee Ann Womack adds a golden magic to anything she touches. Between this track and a recent revisiting of my The Way I’m Livin’ vinyl, I’ve been on another LAW kick as of late, and LAW kicks always kick ass.
Carolyn Dawn Johnson- “Stubborn Clock” (Dancing Lily)
It’s been a true joy becoming reacquainted with this criminally forgotten artist over the past year or so. While previous single “Road Blocks” certified that CDJ could still rock out, this new track reminds us of what a deep and haunting lyricist she has always been.
Lake Street Dive- “Dance With a Stranger” (Fantasy)
A deliriously smooth and catchy number, with a warm sense of community and empathy beating at the very heart of it all. There’ll be plenty of strangers dancing together to this on their latest trek, which is quickly becoming priority No. 1 on my live concert bucket-list.
Ray LaMontagne- “Long Way Home” (RCA)
A gorgeously meditative moment of hushed folk power. The beautifully subdued backdrop brought me back to Neil Young’s “Harvest Moon”, and LaMontagne’s voice has rarely sounded so wonderfully seductive.
Miranda Lambert- “Dammit Randy” (Big Loud)
A solid bounce-back from the middling nature of “Wranglers”, “Dammit Randy” returns Lambert to the excellent quality of bittersweet storytelling that has always been the very best credential on her artistic resume. Now we can get excited about the next record.
Post Malone and Blake Shelton- “Pour Me A Drink” (Republic)
Another irresistible county-pop banger from the forthcoming Post Malone album, with it coming as no surprise that Blake Shelton’s affable party-twang makes a perfect companion for Posty. This is ironically the most refreshing sonic setting we’ve heard Shelton partake in for some time.
Ashley Monroe- “Risen Road” (Thirty Tigers)
I feel like Ashley Monroe is getting her 2010s groove back with this recent onslaught of singles, which provides much optimism about her next LP release. Subtly sassy rebellion and a blues-burnished backdrop bring out the best in her heavenly pipes here.
Maren Morris featuring Julia Michaels- “Cut!” (Columbia)
The first release since Morris’ farewell EP to the country format last fall finds her expectedly indulging in her poppiest inclinations. The production’s on the loud side, but this does provide one of Maren’s catchiest choruses, and one of the most fetching turns from the often-dull Michaels.
Mt. Joy- “Highway Queen” (Island)
I’m behind in getting on-board with this one, which tends to be habit for me with Mt. Joy releases unfortunately. This is an exhilarating rocket of infectious stomp-and-holler folk-rock joy. It will have you manically shuffling like it’s 2012 all over again.
Carly Pearce- “Truck on Fire” (Big Machine)
Hummingbird’s long-overdue sophomore single brings every bit of fire that it promises, thanks to Pearce’s all-in performance and a joyously blistering fiddle solo. A reminder of the fresh appeal of the “Before He Cheats”/”Kerosene” era before Nashville drove it into the ground.
Orville Peck and Kylie Minogue with Diplo- “Midnight Ride” (Columbia)
Peck and Minogue unsurprisingly meld their vast but equally flashy styles with unmitigated aplomb, with a nod back to underrated country-disco moments from the late-70s/early-80s catalogs of Dolly and select others. If you’re still searching for a belated Pride Month anthem, you’ve found it.
Chappell Roan- “Good Luck, Babe!”
A fiercely addictive tour-de-force with a topical bite that is quickly and deservedly becoming one of the buzziest pop moments of 2024. While you’re waiting to see what this vividly imaginative artist has in store next, you’d be well-served to go check out her 2023 debut that so many of us foolishly overlooked.
Shovels & Rope- “Colorado River” (Dualtone)
I love how this venerable couple continues to push the sonic boundaries of Americana/roots music without ever abandoning the grounded and organic spirit that has been at the center of their work from the beginning. This is a deliciously juicy swampy collision of swamp rock energy and Southern Gothic spookiness.
Teddy Swims- “The Door” (Warner)
For my money, his latest hit is even better than the breakout track that preceded it, with its defiantly bitter hook pushing it well across the finish line. Love seeing his uniquely authentic brand of modern blue-eyed soul find a space within the current mainstream.
Twenty One Pilots- “The Craving” (Fueled By Ramen)
The single choices from Clancy thus far have done a stellar job illustrating the emotional and topical range of Twenty One Pilots perhaps better than any of their previous albums. It’s their most stripped and introverted single to date, without ever sacrificing the moody angst so central to the 21P catalog.
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