Tallest Man On Earth- The Wild Hunt

Tallest Man On Earth- The Wild Hunt
Rating: 8.1/10

It's hard to believe that Kristian Matsson is Swedish. He's got the Americana/Folk genre down to an absolute tee and his ability to concoct metaphors and abstract imagery far surpasses that of most native English-speakers. Matsson's full-length debut, Shallow Graves, showcased him mastering the art of folk music with surprising ease. His raw voice and vocal phrasing drew many comparisons (and rightfully so) with Bob Dylan, though instead of focusing on personal reflection or political assertion, his lyrical content largely resides in the abstract, as well as his obvious affinity for nature (even his two full-length album covers strive to depict the rustic beauty found in Earth's natural surroundings).

The Wild Hunt offers more of what we've come to expect from Matsson; minimal production value, finger-picked guitars, overpowering vocal yelps, rhythmic acoustic strumming, and the occasional banjo, possibly to remind you that he's a folk musician (in case you forgot what you were listening to).

The title track opens the album on a high note with its brief, trickling banjo line subtly accenting the melody of the chorus:

"I left my heart to the wild hunt a-comin'/I live until the call/and I plan to be forgotten when I'm gone/yes, I'll be leaving in the fall".

Future single "King of Spain", with its aggressive strumming and storybook lyrics, brings to mind "The Gardner" from Shallow Graves. Matsson's vocal phrasing on the track illustrates his impressive flexibility, ranging from strident barking to hushed asides in just a matter of seconds. The song comes to an unexpected climax when the thunderous guitar slows its tempo during the last chorus-- Matsson reaching for (and sustaining) the highest note he's put to record.

While The Wild Hunt is a succinct, enjoyable listen, it makes little attempt to be anything more. Shallow Graves seemed to be a promising beginning for Matsson's musical calling, consisting of many memorable folk melodies whose imaginative lyrics seemed to flow together in an incredibly organic way. Thankfully, there are a few songs on here that fit that description, notably the bouncy "Troubles Will Be Gone" and contemplative "Love Is All". But in the scheme of things, The Wild Hunt is less consistent and can't help but feel like a step back for Matsson.

I don't think many people expected him to go too far outside his cozy little niche, let alone break any musical ground with this release. Still, except for the long-winded piano ballad "Kids on the Run", there's nothing this album delivers that Shallow Graves didn't already supply two years ago. Even the dragging "You're Going Back" feels like an unsatisfying rehash of "The Gardner". While The Wild Hunt is a perfectly respectable sophomore effort, Matsson's songwriting is noticeably less inspired than that of his previous work. In the end, I'd really like to see the self-designated Tallest Man on Earth be able to go out of his comfort zone with his next release-- and if people don't respond to it, he could always have a promising career in the NBA.

--Jon Manning

King of Spain

Troubles Will Be Gone