Gabe Simon

Week 16: Dermot Kennedy- The Weight of the Woods

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“The Weight of the Woods” is the third studio album by Dermot Kennedy, which focuses on nature imagery and true emotion and is extremely personal, foretelling what he’s observed and his own life. The record is an emotional journey that is thoughtful, delicate, occasionally heavy, yet always sprinkled with joy.


Now, let’s take a look at how the sound and atmosphere stack up:

Although the sound is simple, you are drawn in. Gabe Simon’s delicate production, which mainly focuses on acoustic instruments, gives the songs space to breathe rather than opting for big effects. The music follows the album’s title. It gives off a calm woodland vibe. That soundscape gives the impression that the tracks were recorded al fresco rather than in a studio. The opening track is a reprise of the title track, which is a strange way to start a record. Reprises are usually featured towards the end of an album.


What about Dermot’s vocals?

His voice is ,of course, the heart of the record. We hear that urgency and raw emotion, which sometimes sounds like his voice is breaking under the sheer force of his delivery. He switched up when necessary, from quiet, personal moments to intense, powerful ones, regardless of the lyric’s importance.

What are the subjects and lyricism on display?

Well, the record is predominantly about Irish landscapes, grief, reflection, and emotional endurance. Love is utilised as both refuge and weight. He addresses personal growth and identity. Naturally, songs like ‘Funeral’ and ‘Blue Eyes’ focus on dealing with loss and learning to heal, whereas other tracks address more thoughtful and quieter moments.

What are the standout tracks?

Honest: The most emotional song on the entire album. Here, Dermot adopts an urgent yet vulnerable tone as if he is sharing a confession.

Refuge: This is like a personal yet tender lullaby. It expresses that even in the midst of chaos, love is a safe place.

Funeral: A track that I mentioned earlier is heavy on emotion. The production synchronises with the subject of confronting grief.

Endless: Another track you may have heard before the album’s release( the other being the aforementioned) is extremely haunting, exploring everlasting pain and unresolved feelings.

Sycamore: This track explores real places in Kennedy’s life. The closest track tied to his identity and home.

The Only Time I Prayed: A song of familiarity to Kennedy’s earlier work, displaying spiritual reflection and personal storytelling. The penultimate track is bittersweet, reflective, yet quietly devastating.

The Weight of the Woods: The opener was the title track reprise, and the closer is the title track in its entirety, highlighting the record’s key theme of emotional burden and growth.

Strengths:

Strong thematic connections interwining nature and emotion.
Vocals are powerful and vulnerable.
Consistent and immersive atmosphere.
Personal and thought-provoking lyricism based on real experiences.

Weaknesses:

The tempo lacks variation.
Some tracks sound the same.

Coda:

We won’t find many chart-friendly tracks on “The Weight of the Woods”. To be honest, Dermo has never been about that. He likes to draw the listener in with sobering lyricism over melancholic sounds, and once again, he focuses on raw emotion. This album is more about the journey than picking out anthemic songs. It may be deeply human, but there are glimpses of hope. It may well be yet another very sobering record from Kennedy, but there is beauty in melancholy.

Song recommendations: ‘Sycamore’, ‘Endless’, ‘The Only Time I Prayed’


8/10

Week 7: Noah Kahan- Stick Season

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I was astonished to discover that “Stick Season” was released in 2022, with the latest single ‘Homesick’ released last month. The album is named after autumn before the snow arrives in New England. 

In 2020, Noah teased the title track on TikTok, which inspired many covers, several reviews, and comments by the likes of Maisie Peters, who I reviewed last year.

I don’t know much about Noah, but his first two records were quite poppy, whereas his third effort is all-out folk. This album is almost certainly folk. It sounded like a combination of Mumford and Sons, Hozier, Lumineers, and Vance Joy. Noah said in an interview that this is the kind of music that he prefers to do. God knows why, then, the first two records were pop. It’s probably pressure from the label for marketing purposes.

Along with Gabe Simon, Noah himself is on production. That doesn’t particularly stand out for me because folk is easy to listen to. It’s the songwriting where this album is at. You would think, as this record was done during the midst of the lockdowns, that it would be centred around that, but no. Noah chose a more reflective album where he wants to leave home, longs for home, and deals with the unfinished business of returning.

He addresses several subjects, including mental health, such as ‘Growing Sideways’ and ‘Stick Season’ of growing tired of home. The latter sees Noah talk bluntly about hating home. The record closer, “The View Between Villages’ is about when he drove back home. He feels excitement returning, but he also knows he will start to loathe the idea. It is apt that it ends with him on a journey because the album is life’s journey. In the beginning, he is angry; during the midway point, he is feeling sad, and by the end, he has accepted life. I found it hard to pick song recommendations because I like the bulk of the album. My choice varies the more I listen to it.

Song recommendations: ‘Growing Sideways’, ‘Northern Attitude’, ‘The View Between Villages’

8/10