FALLS OF RAUROS — The Light That Dwells in Rotten Wood (review)

FALLS OF RAUROS — The Light That Dwells in Rotten Wood album cover Album · 2011 · Atmospheric Black Metal Buy this album from MMA partners
3.5/5 ·
Vehemency
The Light That Dwells in Rotten Wood belongs to the many albums of contemporary black metal on which nature and atmosphere are in the main focus, and where influences are gathered from a wider spectrum that just the usual Burzums, meaning that one may find big doses of experimental song progressions and professional musicianship instead of purely primitive hammering into a scruffy four-track. Black/folk metal names like Shroud of Despondency, Wolves in the Throne Room, Agalloch, Fen, Wodensthrone, October Falls and Alcest are easy to drop in regard to Falls of Rauros’ third full-length that is very similar in spirit and overall aesthetics.

That said, one can spot the post-rock qualities right in the beginning of the album as ”Earth’s Old Timid Grave” kicks in with richly detailed acoustic guitars, developing heavier with the inclusion of reverberating, Red Sparowes esque electric guitars. ”Banished” and ”Awaiting the Fire of Flood That Awakes It” are responsible for the most of the album’s metal, running for almost 25 minutes together, providing relatively ’complex’ and versatile compositions yet never forgetting the importance of emotion and natural flow. On the latter of the two, I can’t help but to compare its lead melody pattern to Disillusion’s Back to Times of Splendor. ”Nonesuch River Chant” is a brief acoustic interlude after which ”Silence” begins, the last metal piece of the album, and it’s as well done as the previous ones. Fittingly, ”The Cormorants Shiver on Their Rocks” concludes the album in grandiose melodies that comprise e.g. pianos and chanting male vocals in the background.

Undoubtedly, The Light That Dwells in Rotten Wood wasn’t an easy record to concieve as it sounds so very well done in all aspects, including the natural yet rich production. The riffs are all full of emotion, not to forget the convincingly delivered screams. The record’s only proper fault resides in its unsurprising style that ultimately brings nothing new to the table. Everything is epic as hell and so be it, it works after all, but I’m left with a feeling of wanting to hear something more daring and original from an album that ends up being very close to its influences. If you haven’t got enough of albums in this vein, please do check out The Light That Dwells in Rotten Wood because it is indeed very well done. Those who are already replete with their The Malediction Fields and Diadem of 12 Stars might not spot anything outstandingly refreshing here.
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