Hailing from Brazil and incorporating various local folk flavours (no, not like that) into their already progressive style of black metal, Vauruvã seem ready-made to appeal to the hipster extremophile. And indeed, there's much to like about this, the third full-length from the project since forming just five years ago. Mar da Deriva may only have three songs but they range from nine to fifteen minutes and each provides a lengthy meditation in the band's style. Opener Legado builds up with shimmering atmospheric riffs atop percussion and backing acoustic instruments to create a densely layered sound that's quite beautiful even when the snarled vocals and blastbeats kick in around the three-minute mark. It's not afraid of more metallic riff-driven moments nor of allowing the atmospheric effect to take the lead, initially simple-seeming droning melodies turning complex with the music's twists and turns, the folk elements having an almost psychedelic impact beneath intense percussion as the track comes to a close.

A fine opening, which the album improves upon immediately with Os Caçadores. After a tranquil bit of ambience, the build begins with heavier drums and percussion leading to a more synth-heavy style not unreminiscent of plant-obsessed experimentalists Botanist. We also hear the first clean vocals on the album here, introduced alongside the snarls and something of a counterpoint rather than a focus on their own, particularly given the intensity of the surrounding music. It all comes across as a Brazilian take on the Borknagar style up until the more prog rock-leaning interlude towards the end, which then launches the track back into blackened territory. The band consistently move in and out of heaviness without feeling random or unnatural as they do, and the moments such as the oceanic ambience at the end of the piece which seamlessly links it to the final track are very well-crafted.

Said finale, the fifteen-minute-plus As Selvas Vermelhas no Planeta dos Eminentes, is probably the best track present although the competition is close. The flow is improved, the black metal rumble seeming smoother and is more compellingly incorporated alongside the folk elements, particularly the percussion. These fifteen minutes simply flow by, the unaccompanied synth section at the centre especially beautiful as Vauruvã threaten to dip into modern classical territory before the riffs return, electric and acoustic, those clean vocals giving it all an early Ulver feel before the track ends with an extra dose of prog in the melodies, turning ambient as it fades away. Those who love their avant-black metal with distinctly original elements will love this, especially, yet it's easy to recommend to all - this is music obviously performed with skill and style, and it certainly has black metal's hypnotic qualities. Remarkably good, deserving of much greater acclaim.