By: The Ballad - 10/05/2022
Released on September 23rd, 2022, Too Late for Edelweiss is the sixth studio album from Swedish guitarist and singer, Kristian Matsson, aka The Tallest Man on Earth. Differing from his previous work, this latest album actually consists of only covers, and is his first release with a different record label, Anti-. Initially inspired by his early cover of Hank Williams’s “Lost Highway” that he used to perform before he had enough songs to perform a full set, Too Late for Edelweiss also includes songs from other notable artists such as Bon Iver, The Beatles, and Lucinda Williams.
1. För Sent för Edelweiss (Håkan Hellström)
Originally from Swedish singer, Håkan Hellström’s 2008 album of the same title, this version of “För Sent för Edelweiss” is very consistent with Matsson’s early style of songwriting. Mainly just him and his guitar for most of the song, his fingerpicking progression never really changes as the song progresses, though he does include ambient drones and synths at the end to give it a little more depth. Sung in Swedish, this song wasn’t my favorite the very first time I listened to the album, probably because I didn’t expect, and couldn’t understand the lyrics, though I’ve come to appreciate and really like it.
2. Metal Firecracker (Lucinda Williams)
Off of Lucinda Williams’s 1998 release, Car Wheels On A Gravel Road, this version of “Metal Firecracker” is more fundamental and less country. Matsson uses a strumming pattern instead of his fingerpicking style, and includes a few other instruments like piano and electric guitar. It takes on a different characteristic compared to the original, feeling more reminiscent and intimate in comparison to Lucinda’s traditional country sound.
3. Little Birdie (Ralph Stanley)
Recorded by John Hammond in 1925, “Little Birdie” was later popularized by bluegrass legend Ralph Stanley and The Clinch Mountain Boys towards the end of the 20th century. Matsson’s version of it is a mandolin rendition, including acoustic guitar and the ambient drones he has been getting more fond of using. It still caries the original energy of the traditional bluegrass banjo song, though it throws in Mattson’s own personal twist and style to make it unique to him. It’s very well done, and I think a perfect example of what a cover should be. Not just a verbatim copy of the original, but something that has character and personal touches throughout it to connect to the artist.
4. Then You Can Tell Me Goodbye (The Casinos)
Recorded originally as a country song by Don Cherry, “Then You Can Tell Me Goodbye” was brought into the mainstream by doo-wop group, The Casinos, when they recorded it as the title track for their debut album in 1967.
Matsson’s rendition has less of a doo-woppy pulse, and more of a ballad feel. It’s his standard instrumentation, but the cool part is how he arranges a group, multi-instrumental song into a solo voice and guitar piece. If you’ve never heard the original then this interpretation would barely give you a hint at what the it sounds like.
5. Blood Bank (Bon Iver)
The title track of Bon Iver’s 2009 EP of the same name; “Blood Bank” was actually recorded with their debut album, For Emma, Forever Ago, but apparently didn’t fit, so was not released on the album at the time.
Matsson and Bon Iver fall into somewhat similar genres, so his rendition of this song actually translates well and feels like a pretty traditional and smooth acoustic cover. Not a bad song at all, but probably my least favorite on the album just because there isn’t anything super special about it.
6. Tears Are In Your Eyes (Yo La Tengo)
Originally off of Yo La Tengo’s 2000 release, And Then Nothing Turned Itself Inside-Out, “Tears Are In Your Eyes” is very melancholy, almost in an annoying way. It just doesn’t move at all, which maybe was the point, but Matsson’s rendition actually brings some life to this song. He speeds up the tempo, and adds a lot of orchestral instruments, mainly brass and woodwinds, giving the song this extra depth and grandiosity that the original just doesn’t have. The very first time I heard it, it really caught my attention, and so I definitely prefer this version.
7. Fairest of the Seasons (Nico)
From German singer, Nico’s, 1967 debut solo album, Chelsea Girl; “Fairest of the Seasons” actually opens with a finger-style guitar riff that Matsson somewhat copies in this cover. The original uses a lot of strings in support of the guitar, whereas this version does not, but both the songs have very similar vibes. Simple, nice cover, similar to “Blood Bank” in that respect. Nothing super special, but definitely nothing offensive or bad either.
8. Pink Rabbits (The National)
Released in 2013, “Pink Rabbits” by The National has a much more modern, indie alt-rock sound to it. Very ethereal feeling with a slow, loose drum sound, reverbed vocals, some soft piano, and ambient guitar and drones.
This cover of it picks up the tempo a little bit and makes the melody a lot more singable. There are two guitar parts and they do a good job playing off of one another like it’s a duet. I catch myself singing to this one more then any other track on the record.
9. Lost Highway (Hank Williams)
Written and recorded in 1948 by singer-songwriter Leon Payne, “Lost Highway” influenced many artists and record makers into the later 20th century when Hank Williams and the Drifting Cowboys released their 1949 album of the same name. It ironically barely even dented the charts at the time of its release, but proved to be one of the most defining albums of his career. The title track uses a pretty classic group of country/bluegrass instruments including the fiddle, steel guitar, lead and rhythm guitar, mandolin, and upright bass. Matsson notes how, “When I was a teenager I borrowed a Hank Williams album at the local library, and ‘Lost Highway’ has been haunting me ever since. Many vocal sound checks throughout my career have heard Hank’s advice.”
I can see what he means, and think he manages to capture this sort of haunting feeling in his own rendition as well. This track lays on the ambiance, with big reverb on Matsson’s voice, spacey synths panned hard left and right, and a traditional style of bluegrass picking and rhythm to drive it along. It’s a great modern take on such an old country style tune.
10. In My Life (The Beatles)
One of the biggest songs that the Beatles put out, it was originally released in 1965 on their Rubber Soul album. Quoted by John Lennon as being his “first real major piece of work” because it was the first time he included personal lyrics about his own life. Though not actually including a real harpsichord, the short keyboard solo in the song inspired more pop producers to start including the instrument in their arrangements.
This final track also hearkens back to Matsson’s earlier work on his first albums like Shallow Grave and The Wild Hunt. I get the impression he recorded this song on a single microphone out in the woods, because you can tell he records his vocals and guitar at the same time, but you can also hear lots of birds chirping and singing in the background as well. Whether he did it that way or not, it’s a nice touch to a very simple yet pleasant song to cap off the album.
Conclusion
A really great collection of songs that capture different points in Matsson’s musical development. Unique, yet well chosen songs that I honestly didn’t think were covers the first time I listened through. He commands his own style and makes everything his own, which is a very cool characteristic of his music. Definitely worth a listen through to at least compare and contrast the originals with his covers.
Rating: 8.5/10
Favorite Track: Little Birdie
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