Week 16: Dermot Kennedy- The Weight of the Woods

~ honestopinions19 ~ Leave a comment

“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 15: RAYE- This Music May Contain Hope.

~ honestopinions19 ~ Leave a comment

I am beyond delighted that RAYE finally has a number one album, after her debut was criminally robbed by a pile of shite. No one on this earth deserves it more than her. She was cast aside by her label as a solo artist and writer. They wanted her to just collaborate and write for other artists, which she felt hindered her creative spirit. It would take a decade before she finally broke free from her label, went independent and released her debut to much praise. She is known for blending pop. R&B, jazz, and soul with unfiltered conscious lyricism, which is occasionally delivered with an operatic vocal. Her debut, “My 21st Century Blues”, showcased her vocal range and exemplary storytelling. Just a few songs featured on Later… with Jools Holland proved that the record would be excellent.

Now, she is back with her sophomore album, “This Music May Contain Hope”, where she dives further into her creative freedom- long-term songwriting, more experimental, more emotional, and embracing theatrical arrangements. You know what? Fuck it. I’ll tell you right now that this album is fucking brilliant. More than a worthy successor of “My 21st Century Blues”. Right, let us get on with the review. I have chosen a track-by-track analysis because I feel that it is fitting for the album.

Girl Under Grey Cloud:

The opener sets the mood. RAYE adopts a spoken word approach over atmosphere. It highlights the album’s central theme: the sadness is romantic and cinematic. You can hear the “musical theatre” element so often discussed by critics.

I Will Overcome:

The first statement song on the record. Big vocals and self-mythology over gospel sounds. RAYE makes you believe every lyric uttered. Showing despite some pain still remaining, she is resilient.

Beware.. The South London Lover Boy:

Quintessentially a London-based humour track, sharp and witty. She uses this London humour to cut through the heartbreak, which recurs throughout the album. This track shows her true personality.

The WhatsApp Shakespeare:

A track with clever, modern and playful lyricism that turns digital-age romance into something poetic. It highlights her inventiveness.

Winter Woman:

The title is apt to the track’s mood because it is colder, reflecting emotional distance and numbness. The production is therefore minimal, giving the record its first real moment of introspection.

Click Clack Symphony. (feat. Hans Zimmer):

I wanted to enjoy this track because the great film-score legend Hans Zimmer features, but unfortunately, it leans too heavily on auto-tune, which is an instant skip for me.

I Know You’re Hurting:

This track reflects the emotional core of the album. This stripped-back ballad stands out from the record’s theatrical style. It feels raw, but she does not overcook it.

Life Boat:

A turning point on the album. There is more rhythm and energy. The lyricism focuses on survival and transitions into the next phase of the record, moving away from the emotional fog so far. I will go into that more in the outro.

I Hate The Way I Look Today:

This song is about insecurity, vulnerability, and self-image shrouded in a slightly whimsical arrangement. It balances the heavy subjects with charm, which RAYE is a master at.

Goodbye Henry. (feat. Al Green):

Retro soul duet with the great Reverend Al Green. Now, I am not entirely sure if he joined RAYE in the studio or if his vocals are sampled from one of his many classics. Anyway, the track is warm and tender with minimal drama compared to the tracks on the first half of the album. She is starting to show acceptance.

Nightingale Lane.:

This melodic track foretells RAYE’s first encounter with love in the South London street. It shows off her artistic talent. One of the highlights from the record.

Skin & Bones:

The production gives way to a lyrically emotional song. One for the poets and wordsmiths.

WHERE IS MY HUSBAND!:

Everyone knows this. It has been played to death since its release late last year. It is funny, catchy, and dramatic while balancing satire and sincerity. It is also full of brass to add to the effect, and you all thought RAYE is that voice that says “Your husband is coming” before the outro, well, you would be wrong, it is her grandma. Don’t they sound very alike? I do like this track, but it’s not my favourite.

Fields. (feat. Grandad Michael):

Here we go, the pointless interlude. The deeply personal moment features her family, which ties into the album’s theme.

Joy. (feat. Absolutely, Amma):

The featured artists are not only part of RAYE’s backing group but also very dear friends. The mood shifts into something quite celebratory, yet still feels grounded. You can hear that the second part of the record is more upbeat.

Happier Times Ahead.:

A track addressing resolution. It may not display pure happiness, but it contains belief. I would also describe it as optimistic.

Fin.:

Hahahaha, this final song made me laugh. RAYE reels off all the people behind the album for over five minutes. There is no need to read the sleeve notes, because she has already done so for you. A quirky but humorous way to close an album.

Outro:

As I mentioned earlier, about the album’s structure. The first half is winter, with the more deeply emotional tracks, and the second half is summer, where moments of optimism and joy soften the mood. “This Music May Contain Hope.” shows how ambitious RAYE is, and that’s intended. The album isn’t about giving the listener an easy listen, but about songs that start instantly, feature spoken-word moments, and shift genres.

Of course, RAYE may be a bit self-indulgent at times, but give her a break. She has been through an awful lot to even have an album, let alone her second. The pacing may sometimes feel heavy and the theatrical style a bit much, but tracks like ‘Nightingale Lane’, ‘WHERE IS MY HUSBAND! and ‘I Know You’re Hurting.’ are marvellous.

What I have always loved about RAYE is that she is unapologetic. Absolutely refreshing in an industry full of knee benders. She is funny, dramatic, heartbroken, and defiant. A Beautiful album. Two records in, and she is just blowing the competition away. Hopefully, the third will see her keep the momentum.

Song recommendations: ‘Nightingale Lane.’, ‘WHERE IS MY HUSBAND!’, ‘Beware…The South London Lover Boy’

9/10

Week 14: Bangtan Boys aka Bangtan Sonyeondan aka BTS: Arirang

~ honestopinions19 ~ Leave a comment

Unfortunately, “Arirang” falls flat on its arse compared to BTS’s previous effort. This is just extremely overproduced.

‘Body to Body’’is lifeless and buried under layers of vocal effects, while trying to set the mood with a traditional sample. ‘Hooligan’ is flat because the gritty sound and edge is lost to a synthetic finish. ‘Aliens’ and ‘FYA’ are too polished, so they don’t stand out. Oh, and they’re also victims of auto-tune.

‘SWIM’, which is supposed to be the standout track, may be catchy, but it feels hollow. By the time you get to ‘Into the Sun’, the experience has been ruined by the vocal effects, and that is the central issue with the entire record.

“Arirang” had great potential, with personal and emotional stories, but alas, they’re lost in the excess use of auto-tune. Everyone loves their humanity, and that’s what made them so popular. This is a huge step backwards. Utterly unlistenable thanks to auto-tune.

No rating

Week 11: Harry Styles- Kiss All the Time. Disco, Occasionally

~ honestopinions19 ~ Leave a comment

I was thrilled to listen to “Kiss All the Time. Disco, Occasionally”, as I was expecting to enjoy it after his previous album “, Harry’s House”. An album which was fresh, confident, with plenty of memorable songs, and showed forward progression. Unfortunately, this one didn’t capitalise on that forward progression.

I think it was great that Harry collaborated with Wolf Alice leader Ellie Rowsell, but after each track, the energy faded. Even the disco-inspired ‘American Girls’, and ‘Ready,Steady, Go!’ were repetitive and labourous.

Even the emotional tracks like ‘Coming Up Roses’, and ‘Paint by Numbers’ felt more like fillers than highlights.

What is disappointing is that the record lacks the flow and charm that gave ‘Harry’s House’ accolades galore. There are no standouts or big hooks. The songs are just simply there.

Even the closer ‘Carla’s Song’ gives the album a disappointing finish. I was left wondering what happened to all the energy, big hooks, and forward progression that were in “Harry’s House”. Unfortunately, this album is forgettable and unfocused. Very underwhelming from a lad who knows how to make good records.

No rating

Week 10: Gorillaz- The Mountain

~ honestopinions19 ~ Leave a comment

The band that keeps reinventing itself returns with “The Mountain,” an album that draws on global influences and feels reflective yet adventurous.

The record may have been recorded in Devon and Damon Albarn’s home Studio 13 in London, but the songs are in Spanish, Arabic, Hindi, Yoruba, and Russian. It is quite Middle Eastern-heavy, with sounds blended with synth-pop and psychedelia across several word music genres. It is certainly their most eclectic album to date.

The record features the title track, with a spoken-word passage by the late Dennis Hopper over Anoushka Shankar’s sitar (Yes, she is, before you ask), and an orchestral flourish that gives it an atmospheric, spiritual feel. It sets the tone for the rest of the journey within.

One of the highlights is ‘The Moon Cave’ featuring an array of artists, including the late Bobby Womack, and the underrated rapper from The Roots, Black Thought. There is a combination of atmospheric beats and haunting vocals enshrined in layered instrumentation.

The following track,’The Happy Dictator’ with the Mael brothers duo, Sparks, contains witty political satire and theatrical pop. Reminiscent of the band’s earlier days that echo the sentiments of ‘Clint Eastwood’ and ‘Feel Good Inc’.

Tracks like ‘Orange County and ‘The Empty Dream Machine’, on the midsection, focus on collaborations, with the former featuring Bizarrap and Kara Jackson, the latter has Black Thought and Johnny Marr, who features just behind Anoushka (she is present throughout). The merge of dreamy synths and global instrumentation over rapped verse, and the unmistakable guitar playing of Johnny.

As the record starts to wind down, tracks like ‘The Shadowy Light’ featuring Super Furry Animals frontman Gruff Rhys, and ’The Sad God’ are more reflective. Melody and layered instrumentation are the focus, bringing an emotional close.

I found that “The Mountain” was heavily inspired by the Middle East, but Gorillaz have never been ones to shy away from using global sounds and collaboration to enhance their music. Some tracks may seem drawn out, but the payoff is worth it for their beauty and experimentation. It may not be the best body of work, but it is their most adventurous and culturally rich. I enjoyed Anoushka’s effortless playing, Black Thought’s thought-provoking lyricism, and Johnny’s jangly tones, arpeggiated chords, and melodic progressions.

Song recommendations: ’The Empty Dream Machine’, ’The Moon Cave’, ‘The Happy Dictator’

8/10

Week 9: Mumford & Sons- Prizefighter

~ honestopinions19 ~ Leave a comment

“Prizefighter” combines a  smoother collaborative approach with the familiarity of Mumford & Sons’ acoustic style. The collaborations include Chris Stapleton, Hozier, Grace Abrams, and Gigi Perez, with The National’s Aaron Dessner producing. Rather than focusing on anthems ready for arenas/stadiums, the band’s attention is on emotional openness.

The record opens with Chris Stapleton featuring on ‘Here’, where Chris and Mumford & Sons frontman Marcus Mumford exchange verses over a country-inspired duet. The following track, called ‘Rubber Band Man’ with Hozier, has the same premise over strong harmonies and delicate acoustic. The song was given to Marcus after Brandi Carlile had a dream about him singing it. It expresses longing and hope.

‘Run Together’ and ’The Banjo Song’ adopt the modern folk of stomp-and-clap that the band were initially known for, but more mature and restrained.

‘Conversation with My Son (Gangsters & Angels)’ sees the band broaden their horizon with honest storytelling, combining broader emotion with personal narrative.

The title track and ‘Begin Again’ explore love, resilience and doubt, which is what the album is all about. These more delicate shifts make Marcus’ earnest lyricism, careful arrangements, and the band’s harmonies rise above.

New layers surface when Gig Perez and Gracie Abrams featured on ‘Icarus’ and ‘Badlands’, respectively. They do appear to overpower Marcus’ vocals during certain sections, which probably was not meant to happen.

Some songs are weakened by the record’s mid-tempo, polished production, like ‘Alleycat’ and ‘I’ll Tell You Everything’, which do not fit the band’s raw emotion. The closer ‘Clover’ is a gentle finish, but still shows the thoughtful mood of the album.

“Prizefighter” may be a safe option by bringing familiarity, but there are seldom anthemic songs, which we associate with their beginnings. It’s a solid record that showcases their prowess with warm acoustic sounds, vulnerability, and thought-provoking lyrics.

The only thing that has changed is that anthemic songs have given way to more mature, subtle ones.

Song recommendations: ‘Rubber Band Man’, ‘Here’, ‘Conversation with My Son (Gangsters & Angels)’

8/10

Week 8: Charli XCX- Wuthering Heights Official Soundtrack

~ honestopinions19 ~ Leave a comment

I enjoyed the production of “Wuthering Heights”. It is lush and crafted with utter precision, but the listening experience is marred by Charli’s heavy reliance on auto-tune. The instrumentals shimmer with detail and atmosphere, but the vocals don’t enhance the listening experience; they quite simply flatten it.

I was delighted to see that John Cale was a featured artist on the album, with his presence on ‘House’, where he delivers in spoken-word form, but unfortunately, the track falls foul of her synthetic, glazed vocal coating. What could have been both gothic and haunting is overshadowed by overpolishing and distance.  The production of the record had depth and promise, but it is frustratingly pushed out by the vocal effects.

No rating

Week 5: Louis Tomlinson- How Did I Get Here?

~ honestopinions19 ~ Leave a comment

“How Did I Get Here?” is the third solo album by Louis Tomlinson. It features upbeat anthems and is thought-provoking. It further shows how he has evolved from his days in One Direction with meaningful lyricism and catchy songs.

Let’s now address some of the key tracks:

Lemonade:

Well, if you have not heard this, where have you been? It’s been played heavily across the airwaves. The opener features groove-heavy guitars and an upbeat, summer-vibe melody over breezy pop.

Palaces:

My absolute standout on the record. It’s packed with indie-rock energy, with reflective lyrics that address fame and relationships. You can tell how much indie influences his sound.

Dark Light:

The most emotional track on the album. This acoustic ballad discusses vulnerability, grief and loss.

Imposter:

This one reminded me of Empire of the Sun’s music. It addresses self-doubt and identity over atmospheric soundscapes and pulsating bass.

Sunflowers & Lazy (Two tracks):

Upon hearing these, I had to check to see who the producer was, because I was sure it was Tame Impala’s Kevin Parker. It wasn’t, but they had that bright psychedelic rock feel synonymous with Tame Impala.

Lucid:

The album closes with a gentle yet melancholic soundscape that ties back to the record’s title theme.


I prefer “How Did I Get Here” to his previous album. It shows another confident step forward, with its craft, varied emotions, new soundscapes, and meaningful lyricism. I didn’t see much mainstream pop on display, but indie rock, lo-fi, and psychedelia. Tracks like ‘Palaces’ show that he’s starting to settle as a solo artist. The album is a fine balance of uplifting and reflective tracks that keep the listener interested.

Song recommendations: ‘Palaces’, ’Sunflowers’, ‘Lucid’

8/10

Week 4: Robbie Williams- Britpop

~ honestopinions19 ~ Leave a comment

A track-by-track review with a bonus track thrown in:

Rocket (feat. Tony Iommi):

This punchy, guitar-driven opener is the leading single featuring ex-Black Sabbath lead guitarist Tony Iommi. The track reminds me of Joan Jett and the Blackhearts tracks. It’s raw, full of rock attitude, and has anthemic energy. Tony’s solo is the standout moment.

Spies:

The song has a jangly guitar and is mid-tempo Britpop with nostalgic chords.

Pretty Face:

Didn’t like it. Too poppy for me.

Bite Your Tongue:

An alternative rock track with spoken word.  It may feel odd, but it is playful, adding something different to the album.

Cocky:

Stomping glam-rock energy that’s fun with plenty of swagger.

All My Life:

An Oasis-inspired reflective ballad discussing dreams. Providing one of the  more emotional moments on the record.

Human (feat. Jesse & Joy):

Another reflective ballad.

Morrissey:

Co-written with Take That’s Gary Barlow, this tongue-in-cheek track is about Morrissey’s legacy. It’ll certainly divide opinion. The lyrics also might suggest he’s playing the role of someone in love with
the former Smiths frontman.

You:


Same attributes as ‘Bite Your Tongue’.

It’s OK Until the Drugs Stop Working:

I loved this track, and it certainly provided something different. This reflective, self-aware addressing of his past is Divine Comedy-esque.

Pocket Rocket:

An ethereal and dreamy closer of the standard edition.

G.E.M.B:

I included this track from the deluxe edition because it is my favourite. Robbie’s bold, tongue-in-cheek energy is captured perfectly over sublime indie rock, with his cocksure lyricism. It’s fun, bold, and catchy.

Coda:

“Britpop” is not about reinventing the wheel. It’s Robbie showing off to a sound he loved during the 90s, and that influenced him. The record is catchy, energetic, and fun, with songs that’ll become anthems. The lyricism may divide opinion, but this is one of his best albums to date. The title does what it says on the tin.

Song recommendations: ‘G.E.M.B.’, ‘It’s OK Until the Drugs Stop Working’, ‘Cocky’

8/10

Week 51: Pink Floyd- Wish You Were Here 50

~ honestopinions19 ~ Leave a comment

This Dolby Atmos 50th anniversary edition of “Wish You Were Here” may appear to be a cash grab, but underneath the surface, that isn’t the case. The bonus material, which I will discuss later, has been carefully selected. The album’s emotional weight has been enhanced by the clarity and space, so all the emotions expressed with newly resonant without losing the original spirit.

My highlights from the new version include ’Shine on You Crazy Diamond (Parts 1-4)’, which benefits from the expanded soundstage, with its synths and guitar lines gradually blossoming, making it more immersive. I also like the new version of the title track, which brings the acoustic textures closer to the track’s emotion. ‘Welcome to the Machine’ is precise and more imposing, with the mechanical elements more defined, and the final track I will mention is ‘Have a Cigar’ because the use of the improved separation gives it more bite.

I feel the bonus material only enhances the latest edition of the album. We have a new mix of the record, remastered and using Dolby Atmos, and unreleased tracks from a live concert at the LA Arena in 1975, that offers a raw edge of the band improvising onstage. There are also alternate and early versions that show how the sound has progressed throughout the years. This helps take away the idea that this edition is just a “cash grab” or “filler,” because every version has substance.

“Wish You Were Here 50” celebrates the anniversary respectfully. The new versions brighten the tracks, and the bonus material adds texture and context. It is a must-have for Pink Floyd connoisseurs, and Dolby Atmos will introduce a younger generation of listeners to the band. My one gripe with it, and to be honest, it is to be expected of them, is that the songs are very long. There are Dolby Atmos versions and live tracks that run over 25 minutes. Pink Floyd connoisseurs will adore it because it shows off the band’s prowess, whereas a casual or new listener may find it a bit too much. There are also long intros, where the first lyrics are sometimes delivered at the 8-minute mark. As for the record, the songs remain the same, but with the element of Dolby Atmos, they have never been more clearer. You hear everything, and it’s glorious.

Song recommendations: ‘Have a Cigar’, ’Shine on You Crazy Diamond (Parts 1-4)’, ‘Wish You Were Here’


8/10