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.
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