The LA post-metal band explores more complex songwriting and conflicting emotions on their fourth full-length, out now via Dune Altar/Church Road.
Since they first formed more than a decade ago in LA, Iress have always aimed for a kind of maximalist transcendence. The group’s early recordings (released under the name Iris) found them crafting atmospherically dense and climactically massive post-metal dirges that earned them comparisons to like-minded West Coast gloom merchants such as Chelsea Wolfe and Emma Ruth Rundle. With fourth album Sleep Now, in Reverse, that sense of ambition and scale only grows as the band maintain their commitment to soaring doomgaze anthems, while easing back into hazier shades of nuance and giving vocalist Michelle Malley a subtler canvas on which to showcase her powerful vocal presence.
In fact, there’s an intimacy to some of this material that reflects a more personal approach, like on hushed closing dirge “Deep,” which Malley says she wrote late at night on an acoustic guitar. Even moments like this erupt into thunderous grandeur, and it’s in those juxtapositions where Iress thrive, providing an experience as emotionally powerful as it is musically explosive. Meanwhile the group also continues to explore new textures and even loftier heights, as on the triumphant and cinematic “The Remains,” which Malley said “opened up a new portal for Iress.”
With Sleep Now, in Reverse out today via Dune Altar and Church Road Records, stream it below and read what Malley had to say about each of the tracks on the album.
1. “Falling”
“Falling” is an emotional song. It was the first single for a reason. It came together very naturally. The original demo actually isn’t too far off from the final version. The lyrics depict longing, conflicting emotions, a battle of the heart and mind.
2. “Ever Under”
This song was probably one of the first demos created after Graham [Walker] joined the band. “Ever Under” was constantly evolving from beginning to end. We experimented a lot, and once we got into the studio, the pieces all fell into place beautifully. The drums really made the song extra unique and special.
3. “Mercy”
A collective band favorite. It was one of the most collaborative of the bunch. Glenn [Chu] and Graham worked together on this one, creating a super heavy and dark platform for me to just let go and unleash a different side of myself and my vocals. I got stoned at home while listening to the demo and I was immediately inspired. The melodies and the vibe just all came together at that moment.
4. “Leviathan (The Fog)”
Very different from the rest of the album, with its wall of synth, guitar, and vocal layers. We debated whether we should make it heavier or keep it soft, but ultimately decided to keep it soft. Graham started playing this song at band rehearsal and I fell in love. I told him to keep playing as I began to sing to it and we recorded a demo right then and there. The progression of this song was a magical experience.
5. Lovely (Forget Me Not)”
This was another early demo that started with that main fuzz guitar. This one took a backset for a bit before coming up with the bridge, which kicked the song up a notch. “Lovely” definitely has hints of past Iress with some ’90s grunge elements. Although a bit brighter and more upbeat than the rest, the lyrics and vocals still resonate a darkness which is a common thread throughout the record.
6. “The Remains”
“The Remains” began as a riff presented to us years ago by Glenn that never got around to being written. When the band all got their hands in it this time around, it morphed into something bigger than we ever imagined. It opened up a new portal for Iress, which is now bleeding into our other songs. Undeniably a band favorite to perform live.
7. “In Reverse”
This song was written similarly as “Ricochet” from [last year’s Solace EP]. I came up with a catchy verse and rhythm, which set the tone. The chorus was actually one of those happy accidents that happened during the demoing process. The guys had a lot of fun creating a unique, mathy bridge to complete the song which, again, is something Iress hasn’t really done before. “In Reverse” pretty much captures all the different pieces of this album in one song.
8. “Knell Mera”
“Knell Mera” has a cool story. The verses had been in the Iress archives for years. We had another song that was appearing to not make the cut for this record. Then Glenn, out of nowhere, spliced them together and that’s how “Knell Mera” was born. I love how weird and creepy it is.
9. “Sanctuary”
This was a dream come true for me, personally. It was a song I’d written that never made the cut. I imagined it as one long crescendo starting quietly, morphing into chaos. The guys really made it their own, and with our powers combined it became “Sanctuary.” Another happy accident occurred with this one, too—Graham added that coda at the end, which really made it special.
10. “Deep”
I wrote this at 3 a.m. on my acoustic guitar, and it just spilled out of me. We recorded it in the control room somewhat live. It was a very personal experience, and also the last song we recorded, so you can feel the emotion within this song. It was then fitting to also make it the last song on the record.