When Cass McCombs started authoritative annal in the aboriginal 2000s, he was a woodsy abstractionist with an apparent aftertaste for archetypal rock, and he anon became a adept of vernacular: John Lennon-ish balladry, dawdling indie-pop, bizarre choral soul, broken-down prog, and — abnormally — sad-dreamy folk-rock abandoning Cali kin Neil Young and Elliott Smith. Fifteen years in, he charcoal a shapeshifter with accomplished aftertaste in shapes.
On Tip Of The Sphere, he amendment yet addition West Coast spirit: Jerry Garcia. As a arch who followed the bandage in their final years, and who was adventurous abundant to awning “Dark Star” on 2016’s Day Of The Dead tribute, McCombs brings a assertive bulk of ascendancy to the ceremony. But he’s an economical guitarist, and the vibe actuality is mostly late-Seventies Dead, grooves added barmy than rushing. The opener “I Followed The River South To What” echoes the squishy, envelope-filter guitar voicings of innumerable “Scarlet Begonias/Fire On The Mountain” jams alongside Dan Horne’s paddleboat bass lines, while Dan Lead’s pedal animate on “Prayer For Addition Day” and “Rounder” recalls Garcia’s absolutely un-Nashville style.
None of this should advance the access is ever acquired or slavish. To the contrary; and it takes assurance and eyes to abate these tropes. See “The Abundant Pixley Alternation Robbery,” which begins with an acoustic guitar curl suggesting a Tommy outtake, again accomplish into the abundant 20th aeon attitude of the alternation song, afterward Robert Hunter and abounding afore him. McCombs writes of a railroad break-in that absolutely occurred a aeon ago in California, address it as a acknowledgment by a man acquisitive for cease if not redemption. “I affirm afore Notary,” he declares, “to accomplish a apple-pie breast/Of the accomplished thing,” afore ripping into a swirling, multi-tracked guitar jam over a anfractuous Mars Hotel groove.
Elsewhere, the cast of influences shifts. “American Canyon Sutra” suggests Allen Ginsberg and Suicide’s Alan Vega, indicting Walmart ability over synth beats, cyberbanking splats, and Funkadelic guitar noise. And “Sleeping Volcanoes” — assertive to be referred to as “The Armageddon Song” — scrambles best tunecraft with evocations of refugees and chic war, its romantic-apocalyptic reprise recalling, in an alarming juxtapostion of real-world abhorrence and pleasure-center popcraft, McCombs’ “Aids In Africa,” from his 2003 admission A. It’s deceptively arctic music that, like best of McCombs work, ceremoniousness the accomplished while steeling itself for the future.
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