The Tallest Man on Earth- The Wild Hunt (2010)

If one was to explore an intrigue with thriving alternative folk/pop scenes across the globe, they wouldn’t start with Sweden. Yes Sweden, that little ambiguous Scandinavian nation who seems to breed nothing more then angry metal bands.

Oh how surprised you would be when taking a stroll down the syndromic streets of Stockholm and overhearing the faint wail of a classy folk act. The secretly Swedish artists like Jens Lekman, Lykke Li and Taken by Trees form the impressive repertoire of alternative success stories coming from the northern point of Europe, and a new artist is pushing to join the ranks.

The indescribably gifted folksinger Kristian Matsson, also known as The Tallest Man on Earth has put a reputable hand up for the title of the next big deal too descend down from the heights of the Scandinavian alternative folk scene.

The soloist released his highly regarded debut ‘A Shallow Grave’ in 2008 and has followed it up with a ten track, gem of an LP which is sure to engage the interests of young and old folk fans alike.

Instantly when you listen to the work of the Tallest Man on Earth a notable comparative taboo comes to mind for any music reviewer, the dreaded adjective of “Dylanesque”.

To not indulge in this crippling adjective curse felt so heavily by the likes of Conor Oberst of Bright Eyes would seem shallow so here goes.

Gee whiz the Tallest Man on Earth reminds me of the early works of Bob Dylan.

This album embodies aspects to which are remarkably reminiscent of the older, rambling yet poetic lyric of Dylan, while still remaining comfortably simple.

Epitomized early on the album with ‘Burden of Tomorrow’, the sheer brilliance of the intricate yet flowing lyric is highlighted.

By Track 2 however some would have already made up their mind about this artist with a voice that can only be described as hit and miss.

It’s like how some people love Vegemite and others can’t stand the sight of it, his voice is an acquired taste.

It is very reminiscent of a certain predecessor with a problematic voice that seems to add to the entire experience.

Coupled with some impressively intricate guitar it makes for a good package.

The sheer variety and creativity in the sometimes invented and usually unusual chord progressions across the album highlight an aspect to which holds The Tallest Man on Earth in good stead for wannabe cover artists keen for a challenge.

As the album progresses towards the track ‘Thousand Ways’ the tone shifts towards a finger-picking, country artist’s wet dream.

With this shift, some gorgeous hooks and the usual poetic lyric demonstrate a thorough understanding of song selection and pacing to which has possibly been lacking in his previous attempts.

In what might end up being the surprise success on the album, the final track ‘Kids On The Run’ demonstrates a possible future direction for the Tallest Man on Earth after the impending buzz over the Wild Hunt subsides.

The epic piano ballad which rounds out the album managed to evoke a little goose bump action as a heart is poured out all over the place on the only non-guitar track on the album.

If not right away, ‘The Wild Hunt’ could be one of those few albums that people discover in a popular artists back catalog and fall in love with years after the fact.

The Wild Hunt is a huge step forward for the Tallest Man on Earth and fans and foes alike will surely enjoy the struggle to decide whether this is a 2010 classic or a shameless attempt at covering a god.

The Boat People are doing things.....

To utilize a simply horrible pun; Brisbane’s indie pop experts The Boat People have set sail in early 2010 to showcase the thoroughly enjoyable new single ‘Soporific’.

Be it the propensity to tongue-tie listeners or a possible aversion to simplicity after the 2005 release 'yesyesyesyesyes', the Boaties new single offers up a not only a different approach to song titling but also some new sounds.

The definition of ‘Soporific’ is the causing of sleep, which seems far from a way to describe the punchy new single. The track sees the band shift away from previous efforts introducing some crazy hip synth and a powerhouse driving beat.

Baring some similarity to the earlier works of the Strokes and Phoenix, the more defined structure of the single showcases some impressive guitar work and the recognisible lyric to which the Boat People have become so accustomed too.

Whilst pushing for a broader and more professional sound, the single still maintains that typically Aussie indie pop feel which bands like The Panics and Augie March have made so successful.

It’s obvious that this three track effort has been well toiled over and showcases a sound which fits snugly into the ever growing obsession with this genre in Australia, and bodes well for their upcoming release in April.

Kid Sam @ The Troubadour

The intimate love affair between local up-and-comers and that decaying Persian rug beneath the feet of acts at the Troubadour became a little more complicated after tonight’s sold out performance.

Local songstress McKisko graced the Troubadour stage yet again bringing with her the gorgeous ballads and pop elegance that she is beginning to become known for. With a voice which is nothing short of stunning and a mostly harmless catalogue of songs, the siren desperately needs that special song which gets the crowd off the floor and generates the recognition she surely deserves.

In what seemed a stark juxtaposition to the earlier proceedings, Sydney campaigners Deep Sea Arcade got the crowd on their feet and forced some swift fringe re-adjustment as the hotbox of a venue came alive. With the hand-written sold out sign being plastered across the entrance, the keen fans were treated to a tight and somewhat ethereal performance by the Triple J Unearthed contenders who shallowly compare to a walrus era Beatles.

With a sip of water and a bit of a swagger, the low key entrance of Kieran Ryan, front man of Kid Sam, signified the start of the set. A solo acoustic number greeted the hushed crowd before his cousin Kishore joined him on percussion.

The constant game of instrumental musical chairs being played out over the night showcased the powerful vocals of Kieran whilst he switched between electric and acoustic numbers.

The sheer difference in structure and sound in each and every song pointed however to a slight confusion of what sound the band is really going for. Being held together by some outstandingly slick percussion the songs shift from folk to rock and everywhere in between, all of which performed in a professional manner.

Crowd favourite ‘Down at the Cemetery’ was tight however it wasn’t until the injection of a second guitarist when the night became more structured and generally more enjoyable.

Descending into a formidable chaos as they finish on a Modern Lovers tune, the quiet front man left the stage uttering only a few words to the crowd all night. In just under an hour, however, the talent this sold out crowd was looking for was clearly evident and seeing Kid Sam lighting up a much bigger stage one day looks pretty likely.