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The Wild Hunt

Rate It! Avg: 4.5 (1130 ratings)
The Wild Hunt album cover
The Wild Hunt
Burden of Tomorrow
Troubles Will Be Gone
You're Going Back
The Drying of the Lawns
King of Spain
Love is All
Thousand Ways
A Lion's Heart
Kids on the Run
Album Information

Total Tracks: 10   Total Length: 34:42

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Unusual voice, memorable album


On first listen my impression was great, a young Dylan sound alike whose lyrics you can still understand. Heard him on NPR all songs, then bought this. Some beautiful music, and certainly a keeper.

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Great singer/song writer


I heard the name for a long time before actually hearing the man. My local NPR Music station kept making reference to him with Josh Ritter and since I loved the last Josh Ritter record I gave it a go. This reminds me more of Dylan but you can understand him when he sings. Great songs all around. If you like Ritter and Dylan take the step and you will most likely be pleased.

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Very few can do this...


This guy is fantastic. A lot try to sound like this. Not many can write/play this well. A real talent. Glad I stumbled upon this record and I'll certainly be checking out the rest.

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Best album of 2010


I'm hesitant about most Swedish music, but absolutely love this one. I'm not sure if it's ironic or apt, then, that this is some of the most distinctively, authentically American music I've heard. There's a rawness to Kristian Mattson's performance, and it does a rather incredible job of masking the depth and complexity behind every chord, and every word. You can, at some level, just listen: Mattson's guitar and voice break from the speakers with a timeless urgency, and it's not your head that he's calling to. I've listened to this album many, many times; I can sing along with every line, but I couldn't tell you what the words are actually saying. Not because the lyrics are cryptic or inscrutable, but because the meaning really isn't the point. The point is immersion, and The Wild Hunt is a wonderfully rich setting for it. Simplicity and directness lead directly to (and sometimes overlap) elaborate, delicate structures, all with an organic quality that makes it seem impossibly easy.

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Usually a Bob Dylan comparison


is the kiss of death. But it's apt here. And not in the obvious ways--but in the way his voice and lyrics grab you and keep you listening, despite the seemingly simple song structure.

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Five Stars


This is quite simply the best album of the year - from the best artist of 2010.

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Why I Love e-Music


Took a risk and bought both of his albums. Wasn't sure about the voice - normally I hate british/european artists that sound american but I love his voice and it fits. It is also many years since I heard such delicious guitar and to be able to hear it so clearly is so refreshing. Lyrics will take me a lifetime to unravel but I'm going to enjoy every minute.

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Authentically derivative, raw brilliance...


How can someone who sounds this much like a folk icon sound so authentic at the same time? I don't know, but I am mesmerized. My favorite voices are unique and without pretense—this guy has got IT. I haven't even listened to the whole thing yet...it's still downloading, actually, but I suspect this will be in heavy rotation for a while. One caveat—the sound quality is all over the map. I definitely enjoy a raw-sounding record, but consistency is kinda nice. Did someone decide a mastering engineer wasn't necessary? They were wrong, but I love this record anyway.******Update - the sound quality on this record actually IS consistent...consistently crappy. It's a shame - but I'll still listen to it, because the songs and the artist are worth the ear-splitting, relentlessly upper mid-rangy agony. (I did have to drop a star on that account)

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the tallest man on earth - The Wild Hunt


canNOT stop listening to this - King of Spain, You're going Back.... i have been enjoying in a mix/shuffle of this record with three other current faves.

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Keep Listening


You will see this is good stuff!

eMusic Features


Member Poll: Favorite 2010 Albums

By eMusic Members, Contributor

We asked, you voted — these are the albums that soundtracked your 2010. These are the artists that made your pulse race, your heartstrings break and your mind explode. You love one artist so much, he made the list twice. Behold! Our eMusic members '20 favorite albums of the year, counted out five at a time. more »

They Say All Music Guide

In nearly every respect, Swedish troubadour Kristian Matsson’s second full-length outing as the Tallest Man on Earth is a direct continuation of the stripped-down roots folk style he introduced on his debut — an album that was deeply, unambiguously steeped in rural American folk tradition but also the product of a strong singular vision and voice. Arguably the most significant difference this time out is the wider stateside distribution that The Wild Hunt will enjoy thanks to its presence on Dead Oceans, and, hopefully, an attendant increase in exposure. It’s richly deserved: even if — as may initially seem to be the case — this album offered nothing more than another ten songs cut from Shallow Grave’s rough-hewn yet rarefied cloth, it would be considerable cause for celebration; for an ostensible one trick pony, Matsson’s got a hell of a trick. But he’s more than that: his distinctive gifts as a songwriter are more than equal to his undeniable flair as a musical stylist, and if the uncanny anachronistic effect of his work isn’t quite as revelatory the second time around, this set offers the subtler treat of hearing an artist carve out further space for personal nuance and expression within an already well-established approach. Careful listening reveals a newfound looseness and emotional range here, particularly in the vocals, with tender moments like the sweetly sung “Love Is All” and bittersweet relationship dissection “The Drying of the Lawns” balancing the typically visceral, nearly strident delivery of songs like “You’re Going Back” and jaunty highlight “King of Spain” (which wryly tips a hat to Matsson’s most undeniable forerunner with its reference to “boots of Spanish leather”). Lyrically, too, his writing has grown somewhat more lucid and expressive, with even his characteristically poetic evocations of the natural world connecting on a more human and relatable level than past abstractions (from “Burden of Tomorrow”: “I’m just a blind man on the plains/I drink my water when it rains/And live by chance among the lightning strikes”). Still, The Wild Hunt could hardly be called a reinvention. Save for the unexpectedly Springsteen-esque closer, “Kids on the Run,” wherein Matsson trades in his trusty six-string for a piano, anything here could have slotted neatly onto Shallow Grave. And that’s no trouble at all: when you sound like virtually nobody else out there, it’s hard to complain about more of the same. – K. Ross Hoffman

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