### Woods Of Ypres: Woods 4: the green album

#### 17/02/12 || Cobal

While many today claim they’ve been fans of WOY for a long time, I find no shame in admitting I just got to know some of their work. And yes, ‘tis mainly due to the recent passing of their leader, guitar player and vocalist, David Gold, on December 22nd last year that I finally got that chance. That day, as usually, I was going through the list of blogs I’m subscribed to, and quickly I realized in the majority of them there were mentions to the tragic event. A couple of them even had posted the video clip made for “I Was Buried in Mount Pleasant Cemetery”, which I’d later on find out was track 4 in “The Green Album”. At that point I was eager to judge myself whether all the agitation was justified or just a typical reaction of everybodywasafanaftertheydie.

So, I watched with a particularly critic eye if you like, scrutinizing every single detail… or at least that was my effort. I must acknowledge it, at some point of these long song (around eight minutes if I remember well) I was hypnotized, and all my defenses were down. If there’s something I appreciate in any kind of music is that it takes you to the condition of not thinking anymore and simply enjoy what you’re listening to. I mean, that’s truly what all this shit is about, uh? It ain’t difficult at all to find tons and tons of intellectual releases, meaning those ones that need to be thought of, analyzed and even explained to actually be valued fairly, even amongst metal music. Know what I mean? You know, those ultra technical or complex or profound albums that have you thinking all the time. Well, after having listened to this record thoroughly, I can tell you this: “Woods 4” is not that kind of album. Not at all.

Oh dear, have I read negative critics on this one! Sadly, most criticism out there is based on the stupidity of categorization. How come? Somehow, these guys have been put in the corner of blackened doom metal, or even melodic black metal; now, there’s melody within all right, and I suppose you could find some hints of black metal, if you consider Agalloch to be so, but that is so not the freaken point! So what is it then? Who gives a fuck? Expect to find doom metal, not old school one, but very consistent shit. Something interesting is that musically, I can’t really give ya’reference for you to expect this or that sound in particular. These guys know their business when it comes to the subject of constructing their own style.

But what do I mean by consistent, right? Words can be cunningly used to say whatever we want? Sure, let’s see. First of all, may I say you won’t find vulgar and unimpressive displays of pointless musicianship here, au contraire, song writing is quite sharp in the sense that every single resource used is that exactly, one resource used, and not the only mothafuckin’ thing you’ll find along the whole record. Let’s say the keyboards for instance, which by the way, have become a standard to measure how much a band depends on cheap tricks to fill the gaps in their lousy compositions; well, keyboards here are elegantly and effectively played. An introduction melody here (always having everything to do with the main theme in the song given), a piano interlude there and that’s it. No need to over expose them. The same happens with guitars; guitar work is not only ‘bout riffing and riffing going nowhere, but again melodies, arpeggios and electric effects are all combined to provide a rich texture during all songs.

If we were to determine a weak point in the instrumentation, one could say bass lines are almost inaudible. Inaudible indeed for those like me who naively are looking forward to find counterpoints between guitars and bass, to listen to a singing bass, so to speak. Truth be told, there’s nothing like that here, bass is rather used just as a support for the slow dark riffs on the guitars, and that’s that. Drums are also just a support instrument here, except they’re quite present right on the surface of all that’s happening… just the way doom metal bands do it.

Another thing to be noticed is the vocal work. Being an instrumentalist of sorts, for years I managed to ignore vocalists, rather focusing on the musicality, the songwriting, etc. I found David’s efforts quite praiseworthy. A catchy and rich combination of clean and harsh vocals is to be found in most songs, as well as… yes, intelligent depressive lyrics. Quite enjoyable if you ask me.

By the time you read this, I will already be gone Do not reply to this, but realize what you have done By the time you read this, it will already be true Do not reply to this, just understand what you made me do

The guy had some sort of obsession with guilt fo’sure.

All in all, I find Woods of Ypres’ “Woods 4: The Green Album” a most interesting work of modern doom metal (yes, I said modern, fuck off if you have a problem). It’s worth the expenses and multiple, multiple listenings. It also should pass as a big highlight for the genre.

- Information
- Released: 2009
- Label: Practical Art records
- Website:“Woods Of Ypres MySpace”:http://www.myspace.com/woodsofypres
- Band
- David Gold: vocals, guitars, piano
- Bryan Belleau: lead guitars
- Shane Madden: bass
- Evan Madden: drums

- Tracklist
- 01. Shards of Love (Hurt Forever)
- 02. Everything I Touch Turns to Gold (Then to Coal)
- 03. By the Time You Read This (I Will Already be Dead)
- 04. I Was Buried in Mount Pleasant Cemetery
- 05. Into Exile: “Can You Get Here In 10 Days?”
- 06. Pining (For You)
- 07. Wet Leather
- 08. Suicide Cargoload (Drag That Weight)
- 09. Halves and Quarters
- 10. You Are Here with Me (In This Sequence of Dreams)
- 11. Retrosleep in the Morning Calm
- 12. Don’t Open The Wounds / Skywide Armspread
- 13. Natural Technologies
- 14. Mirror Reflection & the Hammer Reinvention
- 15. Our Union (In Limbo)
- 16. Move On! (The Woman Will Always Leave the Man)