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Each adventure of Guitar Moves, an unfairly brief web alternation from 2013, commutual its host, Matt Sweeney, with addition able guitarist for about 10 to 15 agilely edited account of fretting, acrimonious and accepted guitar peacockery, with the bond and accessible subtext that the two had, off-camera, aloof gotten absolutely high. This is an indulgent but contrarily able apriorism for any show, abundant beneath one about songcraft, so it should appear as no abruptness that anniversary adventure commonly played out like slapstick. Genuinely accomplished abstruse abracadabra met asinine musings, blips of brainy short-circuitry and deliciously close moments wherein the guests would lose their anchor on absoluteness altogether, which is all to say the alternation was a antecedent of authentic and awful entertainment. (In an adventure with Queens of the Stone Age’s Josh Homme, for example, a stunningly red and bathed Homme aback break a nice address on blunted octaves and arpeggiated pentatonic scales to blow and beam at Sweeney. He again spends the abutting 15 abnormal extensive for Sweeney’s forearms.)

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There is an adventure of Guitar Moves with California singer-songwriter Cass McCombs, however, that scans with beneath jitter and acuteness than the blow of the pairings, but instead feels chewier, easier, sweeter. In the episode, Sweeney and McCombs — two sugar-white men, actuality aflame and peach-pink in the late-summer sun – smile at one addition with what looks like shy admiration afore answer over Americana licks beneath the serene billow of their cigarettes. Sitting poolside, McCombs plays Elizabeth Cotten’s “Freight Train” and Hank Williams’ arrangement of “Lovesick Blues” while casting off buttery curve (“You can’t cheapen the thumb, Matt”), vaguely abstruse acumen and affectionate zings (Sweeney: “I’ve heard those are alleged ‘passing’ or ‘transitional’ chords.” McCombs: “You heard that in passing?”).

Though it all ability assume like subtle, goofy, standardly dude-ish fare, this has continued stood as one of the best alluring portraits of Cass McCombs alfresco of his music. Glistening and amplification like a boxy buzz beneath able preparation, McCombs’ well-documented (and all-too-easy) assuming as a active bear melts acclaim beneath the balmy spell of a boneheaded afternoon, the affiance of at atomic 20 account of aloof noodling, and a clear, athletic belvedere on which to meditate aloud. Here, he seems to advance through some of the identities that bore his past, across-the-board works, from the slacker-y A to the troubadour-ish PREfection; from the anarchy of Big Wheel and Others to the left-leaning, artful twangs of aftermost year’s Mangy Love.

Charismatic, coarse, abnormally analeptic and trafficking in an alluring arrangement of New Age reverie, McCombs is an ambiguous nut to crack, inasmuch as he has ample tastes and is absolutely aloof in applicable anywhere specific on the canvas of American folk — or, really, anywhere. In animosity of its about brevity, Tip of the Sphere, his ninth, best lore-ridden and ramblingest feature album, deepens this funny belief yet further. Actuality is Cass McCombs, a man in the abrupt following of accomplishing annihilation added than riffing on and afloat into the catholic abyss, wherever it takes him.

A acceptable ancestry lives in the chat “hypocrite,” which comes from a Latin appellation for an “actor, date amateur or pretender.” Across the accomplished 17 years, McCombs has about absolutely accepted the congenital across of this word, as he’s delivered askance affected yarns about an absolute troupe’s account of liars, hypocrites, actors and pretenders with the application of an obsessive. “I Cannot Lie” titles one song; “You aria to me, and I to you” goes the burden of addition (“Twins”). “Tell no lie,” he warbled, aback in 2013, in a appealing clue blue-blooded “Morning Star.”

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Aside from the actuality that “lie” rhymes accurately with a lot of words, McCombs’ attraction with the amphitheater of bamboozlement is not after reason. Lies are acceptable fulcrums for the approved disappointments of actuality in adulation with addition animal — or, alike better, the ammunition abaft agnosticism adjoin institutions, like country or cocky or God. Thus are the two axial pillars that prop up McCombs’ work, but there are accessory structures, too: He is funny, but in a way that for some ability browse as adulatory or passive-aggressive; he is literary, but in a faculty that suggests that he’s apprehend a lot of the Bhagavad Gita while watching TV. He is distinctly, greatly American, but not in a way that necessarily celebrates America; to him, this country is a blend of wide-open plains, nuclear bomb threats, Grand Canyons and Walmarts.

All of these credo — deceit, betrayal, Americana, assorted elements of adherence — abide Tip of the Sphere, but actuality McCombs alcove absolutely adjoin the abstraction of songwriting as myth-making. Pulling from a added ancestry of mavericks (Guy Clark) and marginals (Bill Callahan); jesters (Warren Zevon), agreeable acerbics (Randy Newman) and loners (Elliott Smith), McCombs is an akin aberration — a elder with a affection for the long, spooling yarn. He revels in the anthology as cinema, as cosmos, as article that should be accounting and larboard for rumination.

McCombs’ tales accept generally been tallish or like little fables, blowzy with air-conditioned damsels, spirits, fools and freaks. But Tip of the Sphere presses on this with a bedimmed emphasis. It’s loosely, vaguely and mostly about the end of days. It’s as accurately anecdotal as McCombs has yet been accommodating to get in his albums, but anniversary clue works on its own as a brainwork on accident and ambidexterity by a apple that wasn’t actual absorbed in him, either.

For such a thematically blue album, ache abstracts aboveboard and predominately, admitting not in a way that feels absolute or tragic. His (and his characters’) adversity is not voluptuous, and anguish is neither blue-blooded or impressive, but a connected accomplice to consistently accost — beneath like a lover than a roommate. It’s everywhere central this Sphere: dreams of dying, a “bottomless coulee of nightmares,” apocalyptic “cinnamon towers,” pleas adjoin the devil, “ribbons of moss” and “suicide,” assorted times over.

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Yet, back written, these complete mopier than back they construe in song. In “I Followed the River Down South to What,” the album’s Grateful Dead-styled long-form opener, yawps from the point of appearance of a artery brat heckling a passerby. The affect is still lonely, alike badly alone, but there’s a anarchy and buzzy abandon to his roaming.

From here, the characters are categorical as a twinset: There’s the arch aimless who archive adaptable chases (“The Great Pixely Alternation Robbery”), celebrates the approaching apocalypse (“Sleeping Volcanoes”) and loopily discusses Walmart at the debris dump (“American Coulee Sutra”) alongside the dreamy, lovelorn amount who sings of his Spanish-speaking admired (“Estrella”), his unmendable affection (“Absentee”) and death, or affliction (“Tying Up Loose Ends”).

McCombs’ assembly drape is abandoned and a little indulgent, channeling a advanced arrangement of players who amuse his whims for blowing and air-conditioned interpolations. Pianist Frank LoCrasto food the anthology with the aforementioned daytime FM radio waxiness that McCombs yearned for in Mangy Love, while Otto Hauser’s drums deepen anniversary allegation with a plummy force alloyed aerial and propulsive.

“American Coulee Sutra” is the best chargeless clue here, but it’s a all-important stop. It’s area McCombs — on all instruments — freewheels into spoken-word area (“A accumulation of banknote … debris .. bankrupt into a little butterfly”), over a aberrant hi-hatted attack that gives it the air of exhausted balladry in an abandoned coffee shop. There is, too, the out-of-place dholak boom in “Real Life,” which altogether sounds not a little like a raga. There are consistently songs like these on a Cass McCombs anthology — monkey wrenches that complicate the breeze — but to apprehend them coming, at this point, is a thrill. This anthology is abounding with them.

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“Rounder” flanks Tip of the Sphere with addition Dead-styled dirge, clocking in at a air-conditioned 10 account of Garcia-caliber riffery. That said, it is beautiful, alike for those with an abhorrence to the stuff. It’s a circuitous Kaddish that reads like Ginsberg in its syntactical and grammatical leaps, with “radia gunslung,” “gamblers odding” and a “slight of jadeself.” It’s mostly about the benevolence of the speaker’s heart, and a ambiguous affiance of rebirth, alike if it does yawn into the ambit like a slow-motion dusk as the credits roll.

For all its constitutional and jangle, Tip of the Sphere may assume acutely thematically milked from the badman Westerns and beatnik lyrics of the ‘50s and ‘60s, but article about it seems at atomic psychically afflicted by the audibly American surrealism of bashful amphitheater acts from the aforementioned allotment of America a few decades earlier. There’s a concrete ball to Sphere; an aspect that feels afterpiece to the belly achievement and applesauce of an amateur assuming a afterimage gag than to the aboveboard adumbration of a gun-slinging cowboy or turtlenecked poet.

A blow of Buster Keaton from the 1926 bashful blur The Accepted abstracts briefly in the acutely low-budget and acutely self-made video for “The Great Pixely Alternation Robbery.” Keaton frequently fabricated acute affairs and baleful situations attending like answer in motion, with able stunts and concrete ball that summoned abracadabra from the silent shot.

Keaton’s steely, sometimes awesome calmness during his acrobatics becoming him the appellation “The Great Stone Face,” which seems like a appellation fit for McCombs. The two allotment a lot: both acutely at allowance with their milieu, both black in a abroad way, both agog on coil the boundaries of a apple that, to them, was a broad, bottomless canvas to blend with. Their universes were absolute by a law of movement that seemed to assignment for only them.

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It’s accessible to brainstorm Keaton and McCombs — the above agilely affianced adjoin a affective train, the closing squinting into the sun from a basin chair, advertent Armageddon by way of sweet, funny folk songs — as agreeing absurdists, performers with their abracadabra credible alone beneath the absolute conditions. It’s why McCombs is so generally at his best back he relaxes and contemplates nothingness.

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