After a couple starter splits, singles and EP releases, Spanish four-piece Adrift made their full-length debut in 2008 with Monolito, an album that wore its winding post-Mastodon neo-prog metal influence on its sleeve. The complexity of rhythm and overall extremity finds further push in the forthcoming Alone Records follow-up, Black Heart Bleeds Black, which is darker atmospherically and more conscious of but not modeled after mid-period Neurosis‘ apocalyptic churn. Doomed in mood and guitar-led sensibility, its songs follow progressive structures to vicious ends and offer little hope to those who’d take them on.

More importantly, the overall impression Black Heart Bleeds Black gives is more individualized than was the first record, and Adrift work within a variety of forms that maintain their pummel even as they change the direction from which that pummel comes. Tonally, it’s metal, and I hear a bit of Converge‘s bombast in the screams of “Mallet Man,” but there’s more happening in these songs than any one band comparison can really convey, the two guitars of Macon and Jorge (the latter also vocals) working into and out of tandem stretches with an ease that skillfully undercuts the difficulty of what they’re actually doing.

And where a lot of prog (neo- or otherwise) seems to forgo its sense of songwriting to convey musicianship, even on the trace-state instrumental “Erich Zann Movement,” Adrift don’t lose the human feel to what they do — they’re just reeling back for the next blast, which of course arrives in the form of the 9:48 “Fury Roof.” In terms of giving a concise impression of what Black Heart Bleeds Black does, though, the seven-minute “Wolves Searching Dams” is densely packed with aggression and ambience in kind, relentlessly driven forward by frantic guitars, Jaime‘s drums and Dani‘s bass, as you can hear for yourself on the player below:

For CD and/or vinyl preorders of Black Heart Bleeds Black, click here. Much thanks to Alone Records for granting permission to host the stream, and to find out more about Adrift, be sure to hit them up on Thee Facebooks or their Something Called MySpace page.

Spanish instrumentalists Reznik formed in 2005, and since the movie The Machinist was released in Spain in December 2004, it’s entirely possible the band — initially a four-piece, now a duo — took their name from Christian Bale’s character in that film, Trevor Reznik. Whether or not that’s the case, I don’t know, but the dates work out and I thought that movie kicked ass, so I’m going to run with it. If I’m incorrect and there’s some other significance to the band’s moniker, I’ll leave it up to the vast knowledge of the intertubes to correct my erroneous thinking.

Wherever they got their name, Didi (guitarra) and Lolo (batería) offer a ‘90s-influenced mix of noise rock and stoner groove, occasionally hitting a reference point of Fatso Jetson or some others from the Palm Desert scene, but usually relying on more grit than fuzz sonically. Of the 15 tracks on their first LP, El Mal (Alone), which follows two demos and a number of splits, not one of them is over three minutes long, which is probably for the best. What makes El Mal work is that it never really has time to get mired down in its sameyness. If Reznik were just jamming endlessly on the same riff for six or seven minutes, it might get tired really quick, but by the time a riff has worn out its welcome, à la later cut “Octiembre,” the song is over. It’s not a bad system they have worked out.

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