Review Summary: A necessary and timely expansion for The Tallest Man on Earth.
Much as we may have dreaded The Tallest Man on Earth abandoning his raw and uncluttered sound in favour of something more polished and elaborate, it’s fair to say that we should have seen it coming. With the rough edges sanded smooth and a silky film adorning his signature vocals,
There’s No Leaving Now signalled a forthcoming transformation in Kristian Matsson’s music, of which
Dark Bird is Home is the culmination. Yes, it’s easy to dismiss Kristian’s latest album as a disappointment when viewed alongside his previous work, because one could argue that the intimacy we have long associated with The Tallest Man on Earth has been lost. Should it not have been tagged with said moniker,
Dark Bird is Home may well have been perceived differently, but the association is something of a hindrance because of the weight of expectation that comes with it, irrespective of the album’s quality.
Differences in the production styles between
Dark Bird is Home and its predecessors are apparent during the first few bars of “Fields of Our Home”. Kristian’s unmistakable crooning is as prominent as ever, but the aforementioned silky lining has now morphed into a thick sheet of reverb. No longer does the guitar work tickle the innards of your ears but rather resonates somewhere in the back of your head, stepping down as the driving force and instead propping up the supplementary instruments in a curious case of role-reversal. The diminished presence of the guitars is reflected in the song-writing too. Kristian’s approach to playing here is unusually cyclical, relying far more on repetition, while dynamic energy comes from augmentation, as opposed to rhythmic contrast and natural acoustics. “Beginners” is an exception, and calls the wisdom of Kristian’s current musical direction into question, as it happens to be one of the most recognisable and memorable tracks simply because it’s so uncomplicated, sonically. Would it be right to say he has traded integrity for accessibility? Not entirely. Songs like “Slow Dance”, “Sagres” and “Timothy” may be upbeat, singalong tunes that wouldn’t sound too out of place on contemporary radio, but Kristian’s charisma still shines through, ever present. Though
Dark Bird is Home has a broader appeal, and newcomers to his work will find it easier on the ears than
Shallow Grave, The Tallest Man on Earth remains characteristically earnest in spite of his newfound, chic presentation.
The bare-bone compositions may largely be a thing of the past now, but from the ashes of an old formula, a new one has risen, brimming with potential of its own. Lovely as it would’ve been to hear Kristian continue in his classic vein, it’s equally enticing to hear him develop as an artist.
Dark Bird is Home may not possess the same kind of delicacy that we’ve come to expect and demand from The Tallest Man on Earth, but it still tugs the heartstrings, regardless.
