Every now and then, an EP comes across that catches my attention and curiosity. While I tend to avoid EPs for the most part, I like the idea of bands allowing themselves to explore new ground or visit ideas that weren’t fully explored on a previous full-length. Curious about what I could find within the confines of Marea’s music – and whether the water motifs are abundant – Adrift welcomed me with open arms and surprised with how poignant it can be.

First track “Useless” starts off with a melodic rhythm that evokes the ease of sitting on the rocks, watching the horizon as you wait for the clouds to subside. This song is the catchiest of the three Adrift offers, one that allows you to let down your guard and enjoy its soundscapes. While one could claim that the vocals are buried underneath the production, acting more as part of the background, “Useless” works because it shows that post-blackened doom can have a lighter side. This song also shows that Marea can write an excellent set-up introduction as to what to expect for the rest of the EP. After all, “Useless” is hopeful, rhythmic, and moving, making you want to sit in its atmosphere before diving deeper into Adrift.

Then, the music changes, and gone is that hopeful, calm air. Adrift, at its core, is a collection of songs that evokes the imagery of being lost at sea, of nautical nightmares and shipwrecks buried towards the bottom of the ocean. It feels desolate, like exploring the beach on a cloudy day and finding it to be completely silent, the only sound coming from the tide hitting the sand. Perhaps this was Marea’s intention after all – the music feels bleak and melancholic, as if it’s supposed to wash over you, eroding any sense of hope you may have had as the EP continues onward. On “Rusted,” the vocals become prominent, stepping away from the background and adding another layer of melancholy to the overall mood of the record. However, unlike the hopeful nature that “Useless” evoked, “Rusted” is muted and somber, sinking into a sense of finality. The music leans more into post-black metal territory, reminding me of both Lantlos’s Melting Sun and Heretoir’s The Circle, specifically. The music is beautiful and emotive, and it strikes a chord with you. Finally, there’s “Marea,” a song that conjures the image of water movement, the gentle movement of the tide as something that was once there now no longer exists. The sea has taken you, and you can only stare at the light striking the water as you slowly sink to the bottom. In the end, you are just another set of footprints on that beach, swept away by the sea, as serene as it can be on a gray, cloudy day.

My only issue with Adrift stems from its production. Both “Useless” and “Rusted” suffer from what sounds like an incredibly messy production, where both the vocals and the instruments sound as if they are on the same frequency. While I like to think this was intentional, as it can represent how muddled and distorted something can sound underwater, it does have the tendency to take me out of the enjoyment of this EP. Outside of this, I enjoyed Adrift immensely, and I sat with it long after it was over.

All in all, Adrift is a great gem of an EP, tightly packed in a runtime of 21 minutes. While it is short, it packs an emotional punch on a first listen, eventually becoming easier to digest over multiple listens. If you like your atmospheric post-black metal with doom elements, then Adrift is for you.

— Hera

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Adrift will be available May 9 on Masked Dead Records. For more information on Marea, visit their official Facebook page.