I’m not sure what changed- the lineup has remained the same for the band’s entire discography, Colin Marston returns for the mix/master, though here, that is one of the things that sort of hit me wrong. So I can’t quite put my finger on anything truly impactful. Now, the songwriting, upon the initial listen, definitely seems more proggy and less purely, organic, atmospheric, and contemplative black metal, with tangible, choppier hues of Extol or even Opeth, rather than the band’s early, heavy-handed Agalloch influence. And certainly, there are a few moments of those pitch-perfect, 6/8, shrill, melodic, yet despondent tippy-tappy blast beats that the band absolutely perfected on the last two efforts, but they seem less prevalent between the more wandering, patient textures, and expansive ebbs and peaks.

Marston’s knob-twiddling also seems a bit ‘off’ here as well, with the mix just not sitting well with me- it’s lavish and lush, but the more prominent bass and clean, almost pure prog metal tones don’t seem as warm, organic and welcoming as before.

Just go to the opener “Clarity” and I’ll think you’ll get a quick sense of the entire album’s pacing and delivery as it starts with a definite, more jarring Extol vibe that’s isn’t what I was expecting, but in the same song, they have one of the album’s better, enthralling black metal tremolo picked melodies to die for about 5:50 in, and it’s what made the last two albums so good, there just isn’t as many of them on Key to a Vanishing Future. The same can be sort of said for the second number “Desert of Heart”, where the lovely, warm mid-paced shimmery riff about 2, 3 and 6 minutes in, is cut off too quickly, and the song just sort of meanders for the rest of its duration instead of using those gorgeous moments as the focal point of the song.

“Survival Poem” gets to the good riff early on, and has a warm throb for the rest of the song, then the discordant tangent a minute and a half into “Known World Narrows” almost ruins the song before one of the album’s better, shrill melodic riffs, saves the song, and highlights how good these guys are when they lock into one of those moments. This is also shown in closer “Poverty Hymn”, arguably the album’s best track that imbues past efforts in a better light, with a despondent canter and moving midsection that hits all the right notes as the last two albums did.

I’ve always thought these guys, Alda and former Bindrune labelmates Obsequiae were cut from the same cloth and whose recent albums ranked very high on my respective year-end lists. And while this is a good album, and it certainly might grow on me, but with Key to a Vanishing Future, there’s a little disappointment after the last two efforts, and Falls of Rauros have dropped a little below both as far as most recent efforts, and certainly, Alda‘s 2021 album, A Distant Fire, blows this away. But it has its moments, and those alone are worth the listen if you can wade through the introspective, staggering filler.

As with the opener from Vigilance Perennial , “White Granite”, on opener (after 2 minute intro “Détournement”) “Weapons of Refusal”, there is that truly special moment where you realize how perfectly aligned every element of the band’s , Agalloch inspired, forest-y, misty, atmospheric post/cascadian black metal is. About 3 :33 in, there is this shrill, majestic stomp that will set your hairs on end, and the acoustic refrain that follows and songs emotional climax is just as gorgeous, resulting in one of the year’s most complete and enthralling 11 minutes of music.

And from there it just somehow keeps delivering the shimmery, atmospheric, hair raising goods. 8+ minute New Inertia” builds patiently for about 3 and a half minutes before exploding into a black metal vortex of layered melodic bliss. “Renouvellement” breaks things up with an acoustic clean sung interlude of sorts before “Last Empty Tradition” brings in  moodier saunter and sway  for about 6 minutes before one of the bands signature galloping, melodic, shimmery expulsions unfurls from the speakers in glorious, soaring fashion. I’d put these guys over peers Deafheaven and Ghost Bath, and right behind Vallendusk when it comes to these kinds of uplifting, radiant melodies.

9 minute closer “Memory of Night” opens with a patient, rending plod that would make Finnish death/doom bands weep into their puffy shirt sleeves. But about 3:10 in, it takes a turn into a tumbling, tidal, gorgeously layered blast beat that takes my breath away. The song settles into a warm, alluring closing aura and ends the album on a perfect note, where you can finally exhale and appreciate that you just were completely absorbed over the last 45 minutes by one of the  years best albums.

Sometimes, you just know you are listening to something special. It’s hits so many perfect parts and checks so many boxes, but intangibly, it just raises the hair on your neck and hits your very soul. About 7:25 into the opening track “White Granite”, is where I knew it.  A delicate acoustic bridge and 30 seconds later a gorgeous, shimmery explosion of blackened elegance and thus the template for the the rest of the album’s journey is laid forth.

The 5 songs that comprise Vigilance Perennial‘s perfect 45 minute run time still carry that cascadian vibe from the opposite coast; the crisp dewy fall air of Agalloch and forested majesty of Wolves in the Throne Room, but Falls of Rauros have simply forced on all cylinders hit the stylistic sweet spot. There is such an air of confidence and sheer perfection dripping from every note and riff, it’s like light breaking through storm clouds, in it’s tangibly brilliant aura.

Whether it’s the aforementioned “White Granite” or the the more somber ebb and flow and gossamer symphonic touch of second track “Labyrinth Unfolding Echoes” , more temperamental downpour of  “Arrow and Kiln” the albums standout, with a knee wilting climax or even the almost heavenly aura of closer “Impermanence Streakt Through Marble” (with a last 5 minutes to simply die for), the album just sucks you into an almost trance like state of admiration and emotional catharsis. Even 2 minute mid  album interlude “Warm Quiet Centuries of Rains” is a perfect moment of tranquility.

Other than maybe Dark Descent Records or Unique Leader, is there a label currently, that is so immaculately dialed in to a specific style or genre as Bindrune? I don’t think so. And This album is the very epitome of that symbiotic relationship that has created a perfect release in the genre and one that might be a future classic. The only downside is how can they possibly top this?

As I’ve said before, Falls of Rauros have done little to change up their style. If it ain’t broke, don’t fix it! Nonetheless, the drumming on display here is significantly more liberal compared to that of their previous effort, The Light That Dwells in Rotten Wood. Blastbeats are more commonplace, to the point where every track (barring the opener and closer) contains at least one such section, making it feel more in line with their similarly aggressive debut Hail Wind and Hewn Oak. Bear in mind that I have nothing against blastbeats; it’s just that I hold the measured restraint exercised on The Light That Dwells in Rotten Wood in exceptionally high regard. Thankfully, the drumming still retains all the litheness and fluidity it always had, with all its cymbal accents and effortless fills. I suppose when push comes to shove, the more immediate nature of these songs would befit percussion of a more urgent variety. “Ancestors of Smoke”, for instance, rages on with a rustic tenderness, its guitar tremolos and bass lines tightly woven as a singular cohesive unit.

Another noticeable change from The Light That Dwells in Rotten Wood would clearly be the production values. The lead guitars are more prominent in the balance. There’s a lot more power to the drums (especially the snare), and the vocals are brought just a tad closer to the forefront. However, the rhythm guitars might have taken a slight hit, being less dreamy and spacious and more in your face.

While Falls of Rauros don’t quite live up to the high standards that I may have unfairly thrust upon them on their last release, they haven’t really done any wrong on this record either. Believe in No Coming Shore is an absolute joy to listen to, and a definite contender for the best black metal record of 2014.

The cover alone should clue most listeners in what to expect here and those expecting nods to Agalloch will be satisfied as Falls of Rauros have a distinctly Pacific Northwestern feel despite hailing from Maine. Rangy songs of introspective black –ish metal full of atmospheric acoustics, delicate, damp moods, distant rasps and the occasional brittle black metal injection. As well as the expected Agalloch hues, I also (in part to the distant shrieks) get a bit of a HEart of the Ages era In the Woods, but don’t take it as a sheer comparison, just the woodsy, rustic feel of the music.

After the requisite atmospheric intro “Earth’s Old Timid Grace” the band launch straight into the albums best track, the 11+ minute “Banished” which wanders with a restrained but elegant pace, like a walk on the woods in Autumn. Foliage crunches underfoot and damp mists swirl around your feet. It’s all very ambient, to the point where you might need a parka to listen to it and you’ll start smell wet wood and dew. The acoustic start of “Awaiting the Fire or Flood That Awakes It” saunters into view next with a pleasant folky tone before segueing into a nice lengthy, moody, melodic stroll that become a more urgent jog and epic closure, showing Falls of Rauros do have a few teeth to bear.

However, with the opening 25 minutes of the album being of such a high, mesmerizing standard, the second half of the album (its only 6 songs) tends to be a bit average; you’ve got the acoustic interlude “Nonesuch River Chant”, surprisingly stern but somber “Silence” and instrumental closer “The Cormorants Shiver on the Rocks” (how’s that for natural?). All certainly continuing the overall flow and organic quality of the style, but partly due to two of the last tracks being instrumental, lacks the wow factor of the albums early stages.

Still though, while not a album of the year contender like Obsiquiae or Fen’s Epoch, Falls of Rauros has still released a fine album fitting of Bindrune’s excellent niche of rustic, organic and atmospheric black metal.