Iress have been working towards this album for a few years. Waiting for the rise of shoegaze to meet the acceptance of fans of doom filled metal. Now the time seems perfect. The stars are aligning, and the world should finally be ready to move them from underground Los Angeles band to well-known international act. Michelle Malley's vocals form the centre of everything on this album. The clever bit is that she pins it all together without ever feeling like she's dominating the sound or going OTT with her delivery. Please take note other vocalists, you don't need to bark, growl or bite to be the centre of attention.

That not to say that the rest of the band are just mere passengers. The entire Iress family is knocking out of the park on this album. The sign of a truly great band is knowing exactly what the required amount of presence or space is. On every single track there is a restraint shown that is the domain of the truly tasteful - take a bow Graham Walker (guitars), Michael Maldonado (bass), and Glenn Chu (drums).

This is not an album of bright moments or big singalong choruses; this is an album for people who enjoy melancholy and want to swim in the deep dark pools it can create. That's not to say it's an album that depresses you, as it's littered with so many moments of staggering beauty.

If you're the kind of person who likes Deftones tracks like Minerva and Change (In The house Of Flies) then this album is for you. Equally if you're coming from the more indie side of shoegaze, there is nothing to fear. The album delivers beautiful melodies over walls of guitars. The main difference being that the rhythm sections are punchier and more technical. By the time you reach the outstanding In Reverse, you can't help but feel seduced into submission.

VERDICT: A stunning album with one of the most haunting vocal performances of the year.

4.75 / 5