In an unfortunate case of cold-hearted cynicism, WOODS OF YPRES' Woods 5: Grey Skies And Electric Light will face a similar fate to VOIVOD's Katorz and Infini, in that the imminent high praise that Woods 5 will undoubtedly receive in 2012 will be perceived as nothing more than grief and mere sentimentality over the death of Woods Of Ypres founder and leader David Gold in late-December, 2011. What those crass people will fail to realise, however, is that Woods 5 is not only Woods Of Ypres' artistic pinnacle, but one of 2012's summits as well, the record a true reflection of Gold's passion for metal, and music generally.

The prevailing sentiment that ebbs and flows over and over again as one listens to Woods 5 is how much they would have wanted to tell Gold, in person, what a fantastic leap forward Woods 5 is, as this record truly represents a rebirth for the band and its song-writing, even though the collective's back catalogue is filled with its own profound lores. Gold was at the peak of his song-writing prowess during the Woods 5 sessions and in combining the black and doom leanings of yesteryear with an emphasis on straight-ahead verse-chorus-verse, Woods 5 is a resolute triumph of determination and perseverance, all the years of DIY touring and self-releasing eminently paying off for Gold's malevolent creation.

One is particularly and entirely struck by the profuse sense of sadness that seeps and weeps from Gold's auditory easel, and though Gold had explored themes of loss, desolation and death before, the sense of finality that runs through Woods 5 is eerie, especially in Gold's detailed descriptions of death, of the grieving process and of carrying on after those you care about have extinguished. Though one can accuse the listener of engaging in a JOY DIVISION-esque process of systematically looking for death's clues, Woods 5's emphasis on transcending to the other side is indeed a tragic coincidence, if not outright foreshadowing. But when Woods 5's sad and saddening external narrative is taken out of the equation (an all together impossible feat, it is acknowledged) the listener is eminently impressed by the immense quality of these songs. Gold had, truly, written the best hymns of his career, as 'Lightning And Snow', 'Adora Vivos', 'Career Suicide (Is Not Real Suicide)', 'Finality' and 'Kiss My Ashes Goodbye' are all deserving of reviews of their own, these tracks inducing shivers (a term I've never used in a review before) and acting as tombs of ash to all the possibility in the world. Though Gold had impressed greatly with Woods' back catalogue, the aforementioned songs have brought his canon to a higher plateau; instead of imagining how fantastic and fantastical Woods 6 or Woods 7 would have been, let's take in these grey and electric new songs in their totality and with the spirit they were intended. Man, just listen to how good they are.

Before his death, Gold was hoping that he had finally crafted a 10 record. Well, let it be known hundredfold that the 10 rating reflected here isn't as a result of unmerited sentimentality. The 10 is because this record deserves it.