Avey Tare is great at hiding the familiar world behind loose, watery strokes of music. “HORS,” the closing track from his upcoming album Cows on Hourglass Pond, opens on the sound of a garbled human voice, as if a newscast were played in reverse. Slowly, as the babble fades into unhurried acoustic strumming, a beat approaches—a hoofbeat that seems to reverberate beyond the boundaries of the song in ways both novel and instantly recognizable. He winds through an abstract wordplay of equine associations, recalling the places marked by horses’ absence: Apples uncrunched, gates not jumped, baskets missed. Nodding to the schoolyard basketball game, the song’s title, “HORS,” beautifully teeters on the edge of elimination.