Cass McCombs’ “Interior Live Oak” Review: Double Album Doubles the Pleasures
The world of music is inundated with an overwhelming amount of “content” that saturates our cultural landscape, leaving many to view a double album as a daunting task. While an 80-minute film may be deemed as concise, an LP of equivalent length is often dismissed as a tedious excursion. However, Cass McCombs, the American singer-songwriter, challenges this perception with his latest 74-minute double album, setting a new standard for songwriting excellence that remains unwavering from start to finish.
McCombs, a humble 47-year-old artist, has been an enduring presence in the realm of US indie music since the early 2000s. Despite often being overshadowed by his more hyped counterparts, he has crafted a prolific discography that spans over a decade, with “Interior Live Oak” marking his 11th studio album. His musical oeuvre primarily revolves around folk-rock sensibilities, while also incorporating a diverse range of colors and textures. His 2007 track “That’s That” narrates a tale of romance culminating in a janitorial job at a Baltimore nightclub, evoking the nostalgic crooning of a bygone country era. In contrast, his 2009 collaboration with Karen Black, “Dreams-Come-True-Girl,” transports listeners to a retro homecoming dance ambiance.
McCombs’ lyrical prowess seamlessly weaves poignant narratives with tangible real-world elements, as exemplified in his 2012 composition dedicated to Chelsea Manning’s story. In his previous album “Heartmind,” the track “New Earth” cryptically references Elon Musk against a backdrop of post-apocalyptic imagery. “Interior Live Oak” continues this tradition with dreamlike landscapes juxtaposed against concrete settings like New York’s George Washington Bridge and San Francisco’s Transamerica Pyramid, creating a distinct Americana aesthetic with a hint of rural eccentricity.
The album unfolds with “Priestess,” a heartfelt tribute to a departed friend that delves into McCombs’ California roots through vivid imagery and personal anecdotes. Tracks like “I Never Dream About Trains” and “Strawberry Moon” showcase his vocal versatility reminiscent of iconic crooners like Tony Bennett and Frank Sinatra. “Missionary Bell” stands out as a profound ballad that resonates with simplicity and emotional depth, highlighting McCombs’ introspective exploration of mortality and human connections.
The expansive nature of the album allows McCombs to delve into ruminative territories with tracks like “Asphodel” and “Who Removed the Cellar Door?”, each offering a unique sonic landscape that oscillates between mystical introspection and spaghetti western aesthetics. “Diamonds in the Mine” and “Peace” further demonstrate McCombs’ musical virtuosity with intricate guitar riffs and soulful melodies, while “Juvenile” infuses humor and exuberance with a Devo-inspired organ accompaniment.
As the album culminates in the nervy rock-infused title track, McCombs’ artistry shines through with a profound sense of urgency and introspection. Clocking in at 74 minutes, “Interior Live Oak” leaves listeners yearning for more, underscoring McCombs’ unparalleled ability to captivate audiences with his evocative storytelling and genre-defying soundscapes.