| Pitchfork |
Neither a sequel nor a satellite to this year's The Wild Hunt, the Tallest Man on Earth's new EP, Sometimes the Blues Is Just a Passing Bird, is a statement in its own right. While many post-LP EPs round up same-session tracks or studio experiments for diehard fans, these five austere folk songs were written on the road and recorded during a recent break from touring. They're unmistakably Tallest, marked by the vulnerability in Kristian Matsson's croak of a voice, the strident complexity of his guitarwork, and his thoughtful, often fractured lyrics inspired, ostensibly, by his native Sweden-- specifically the mountainous region of Dalarna, northwest of Stockholm. And yet, despite the same elements, Blues has a very different character from The Wild Hunt. It's slightly darker, more wounded, muted, and meditative, lacking the fanfare of the album's more heraldic moments. While limited in scope and tone, the EP allows Matsson to explore one particular mood: a primary color in his palette, a bluesy melancholy that defines and permeates every song here.He is, however, never dour or grim. Matsson's songs fashion hooks out of stones and branches and whatever else he encounters along the trail. Opener "Little River" bends on a melodic curlicue, a wish tossed into a well: "Is it honest like a falling log to dream of things like a little river to the golden ground?" Similarly, "The Dreamer", whose lyrics give the EP its title, turns on a modest yet elegant upsweep of melody. It is, perhaps, more notable for being the first and so far the only Tallest Man song to feature electric guitar, and the punch of those resonant strums is abrupt and startling. This isn't Highway 61 Revisited revisited, but rather introspective folk simply plugged in and reverbed....full text |
| Itunes |
| Customer Reviews Another Masterpiece! by Ryan Nas At some point you'd think Kristian might miss the mark. Instead, he continues to exceed all expectations. "The Dreamer" is such a great change of pace. Introducing an electric guitar gives his already extraordinary voice even more texture. The stripped down version of "The Wheel" is so melancholy that in a weird way, it will make you smile. TMOE is always worth evert penny and this EP is no different. The best 4.95 you'll spend. ...More one of the greatest musicians working today. by Andrew Runyon Matsson's lyrics get me through a long night at work. everything he does turns to gold. Hippie by OMG anybody can sing Kinda reminds me of Devendra Banhart. Diggin it....full text |
| Music |
| Well, here’s a nice surprise: Dead Oceans announced today that The Tallest Man on Earth has released a brand new EP, "Sometimes the Blues Is Just A Passing Bird", a 5-song set of original tunes from Kristian Matsson that’s currently available on iTunes with a physical release set for November 9. All 5 songs, including live favorite “Like the Wheel,” were put to tape this past summer and most were written after the cuts on Matsson’s excellent The Wild Hunt LP, which came out in the spring. Check out the cover art above, tracklist below, and download a free, label-cleared MP3 of the gorgeous “Like the Wheel” here....full text |
Tallest Man on Earth lyrics
|
| ||||

Neither a sequel nor a satellite to this year's The Wild Hunt, the Tallest Man on Earth's new EP, Sometimes the Blues Is Just a Passing Bird, is a statement in its own right. While many post-LP EPs round up same-session tracks or studio experiments for diehard fans, these five austere folk songs were written on the road and recorded during a recent break from touring. They're unmistakably Tallest, marked by the vulnerability in Kristian Matsson's croak of a voice, the strident complexity of his guitarwork, and his thoughtful, often fractured lyrics inspired, ostensibly, by his native Sweden-- specifically the mountainous region of Dalarna, northwest of Stockholm. And yet, despite the same elements, Blues has a very different character from The Wild Hunt. It's slightly darker, more wounded, muted, and meditative, lacking the fanfare of the album's more heraldic moments. While limited in scope and tone, the EP allows Matsson to explore one particular mood: a primary color in his palette, a bluesy melancholy that defines and permeates every song here.