When Michelle Malley took the stage, I braced myself. I kinda knew what to expect; a gloriously brutal outpouring of doubt, regret, and sorrow. I was ready to be moved.

From the first song, I was transfixed. Her performance of “Shallow” had all of the intensity and angst as the recording, and when she belted out the chorus, I could feel the bumps start to tingle on my arms. She immediately went on to break my heart with the next song, “Nest”. The emotions and melody start so unassumingly, but then when she gets to the chorus and she sings the glissando in the chorus, you really feel her reaching for that emotion when she sings, “Come away with me.” The longing for comfort is there in the way Michelle sings, and it’s beautiful.

While the music was heavy, Michelle’s mood was not. She was all smiles between songs, showing her gratitude for her friends and fans making out to the show. There was even more humor when Michelle was joined on stage by Graham Walker who accompanied her on guitar for most of the set and had her friend Lauren Coleman, a documentary filmmaker who dusted off the guitar and vocal harmonies to sing a cover of Gillian Welch’s “Everything Is Free” with Michelle. They both laughed after the songs about the mistake that both of them simultaneously made. 

She closed her set with a new song that lacked an official title. She suggested I call it “Ready”, and I thought it was fitting because I’m ready for more music from Michelle and Iress. Singers who pull you into a real palpable emotional state are few and far between, and Michelle has done it to me every time I’ve seen her sing; whether solo, with a band, with a broken arm… 

Other songs performed were “Hand Tremor” and “Dark Love.”

2020 was different, though. For the first time, a significant number of post- bands that released some of my favorite albums of the year were either women led or prominently featured women. At the forefront have been a group of bands leading the charge in one of post-’s most promising offshoots of the past decade: doomgaze. These are bands that play slow, dark, and heavy music that shoots straight for the gut and heart. In London’s A.A. Williams and LA’s Iress you have a pair of singer/songwriters – the eponymous Williams and Michelle Malley – who simply command a room with their powerful and velvety tenor voices. Both bands released albums in 2020 that really catapulted them into the spotlight for fans of post-rock/metal, doom, shoegaze, and beyond.

Flaw, Iress’s sophomore album and first since 2015, has all the feeling of a true debut both in production and performance. It comes across as a fully-formed package that follows in the footsteps of acts like Windhand while putting their own dreamy and fluid spin on it. It’s difficult to listen to tracks like “Nest” and “Underneath” and not simply be swept under by the force of Malley’s voice and the powerful nature of their compositions. For A.A. Williams, Forever Blue is truly her first full-length, following her impressive 2019 self-titled debut EP. Williams’s music takes a somewhat more cinematic and dramatic approach, featuring plenty of piano and strings alongside heavy guitars and bass, which made her a perfect fit to collaborate with Mono for a 10” late 2019. Forever Blue mostly continues the promise of that early work and delivers in stunning fashion. Delicate passages of acoustic guitar and piano effortlessly give way to momentous bouts of energy as Williams constantly plucks at the heartstrings before occasionally going in for an emotional gut punch.

SIMON RAYMONDE'S TOP 10 ALBUMS OF 2020
Told Slant “Point the flashlight and walk”
Gilroy Mere “Adlestrop”
African Head Charge “Off The Beaten Track”
Lee Scratch Perry “Heavy Rain”
Jo Johnson and Hilary Robinson “Antenna Echoes”
Gwenifer Raymond “Strange Lights Over Garth Mountain”
Iress “Flaw”
Seasurfer “Zombies
Emma Ruth Rundle & Thou “May Our Chambers Be Full”
Sacred Paws “Run Around The Sun”

The confluence of metal and shoegaze continues to fascinate me. On paper, the genres — one all about heavy, crushing riffs, the other about ethereal atmospherics — couldn’t be more opposed. But in the hands of capable artists, the two genres can actually complement each other in deeply stirring ways.

Case in point: Flaw, the excellent new full-length from L.A.-based doomgazers Iress. Yes, there are heavy, crushing riffs aplenty in a song like “Shamed,” courtesy of Michelle Malley and Alex Moreno, along with Glenn Chu’s cavernous drums. But “Shamed” also possesses a slow, somber grace that brings to mind the likes of Lush and Pale Saints — were the classic 4AD bands accompanying a funeral procession in the depths of winter.

The band’s secret weapon is Malley’s powerhouse vocals. Though not as airily dreamy as those of Miki Berenyi, Emma Anderson, or Meriel Barham, they still soar in a sorrowful, world-weary manner that transforms Iress’ sonic dolor into something absolutely majestic. (If you need more evidence of this after listening to “Shamed,” then check out Malley’s anguished lament on the epic, 7-minute-long “Shallow.”)

Los Angeles group Iress’ new album, Flaw, draws inspiration from the vast ocean on the city’s doorstep. California bands wielding this kind of weight and drama have often fed on a contrast to the state’s sunny vibes, but, in the current moment, dark catharsis feels like a wholly appropriate creative response to that environment.

For those not already predisposed to heavy music, connecting to it right now, while we are deprived of the in-person experience for the time being, can be a tricky proposition. Does it translate for moments in your daily life to be instilled with the gravity of a Game of Thrones episode? Texture and tension become more crucial than ever. Iress have a natural advantage in that doomgaze of this nature is more compelling with a powerful female voice up front, rather than a typical throat-shredding dude.

Flaw is at its most moving on tracks like “Nest,” which goes from spare to searing and back again on its desert night drive, or in the contrast made by placing the acoustic rumination “Dark Love” next to the massive storm of “Shallow.” Though the album can feel a little unrelenting by the end, when their multiple dimensions come through clear Iress are an imposing force.

True to its cover art, Flaw is the kind of record that bears the intensity of a dark, cold ocean. The sludgy riff introducing album opener ‘Shamed’ instantly signals this change of pace for Iress; the bouncy, hazy indie rock from their 2015 debut Prey has made way for something heavier, something much more sinister. Self-describing their brand of music as ‘doom-gaze’, the Californian band presents a sound not dissimilar to the likes of Chelsea Wolfe and Emma Ruth Rundle, yet succeeds in separating itself from the pack due to an enthralling combination of impeccable musicianship, Michelle Malley’s demanding voice, and, while allowing Flaw enough space to breathe, preventing the record from overstaying its welcome.

While the peppy choruses from the band’s previous output may be gone, Iress has not sacrificed a drop of memorability here. Early highlight ‘Nest’ confidently works its way to a huge, soaring chorus, with Malley lamenting “Come undone with me / Death is all we have” brilliantly capturing the gloomy atmosphere of Flaw. Yet, as bleak of an affair as it may be, it’s a highly catchy moment, with many similarly captivating lyrical moments showing up throughout the record. Similarly, every single note is as heartfelt as it is carefully constructing and adding depth to Iress’ world of dreary beauty. Whether it’s the cymbal-heavy drumming in the aforementioned ‘Shamed’ or the quiet, delicate acoustic guitars that form the framework of ‘Dark Love’, not a second feels out of place. Accentuated by Sarah Tudzin’s immaculate production job, Malley’s voice drifts especially pleasantly in this particular song, gently guiding the song into its blissful dusk.

As incredible of a track as ‘Dark Love’ is, it can primarily be seen as functioning as the perfect prelude to ‘Shallow’ in the context of the full album. Clocking in at seven minutes, the album’s centerpiece is absolutely massive. Commanded by simplistic, hypnotising drums and reverb-drenched guitars, the song masterfully builds tension before erupting into a cathartic explosion of sound, only to deconstruct itself and do it all over again for a colossal finale. The final two minutes see guitars crashing like waves against a distorted bassline, and, most prominently, Malley manages to strain her vocal chords into a stunning, goosebump-inducing shriek. It’s a finale filled with such raw emotion that truly shows off Flaw’s unique ability to amaze with grandiosity, while remaining firmly rooted in sheer, unfiltered humanity.

Even if there is no need for Iress to continue proving themselves after the monumental ‘Shallow’, the band throws in another handful of crushing, distorted numbers for good measure. ‘Hand Tremor’, the closing track, however, is an entirely different beast. Rather, it’s a quiet, restrained track, signaling Flaw has said all it wanted and needed to say, allowing space for Malley’s gentle whispers and muted acoustic guitars to have the final word. Still, in spite of the album closing on such a delicately high note, fully self aware of when it’s time to dismantle itself, it leaves you wishing for more. It’s a record grounded in darkness, yet mystifyingly captivating due to this very gloom. Flaw is fully worth diving into, even though its shallowness may be highly, wonderfully deceptive.

If there is such a thing as the aural equivalent of being buried alive—and I’m not confident that there is, but I’ll get back to you—then the Los Angeles group Iress has found it. It’s not that their gripping new record Flaw is suffocating; it’s that it perfectly captures the feeling of sickening resignation, the moment you realize you’re completely fucked, and nothing you can do will change your situation, so you instead choose to close your eyes and lean into the fear. (Sound familiar?) The album offers a chest-collapsing assortment of riffs that ride the line between doom metal and shoegaze—fans of Starflyer 59’s first two records, take note—occasionally pausing for a somber, smoky ballad (“Nest”) or a bit of grim, throbbing post-rock (“Shallow”). The band’s divining rod is vocalist Michelle Malley, whose performance on this record will drop the jaw of anyone who hears it. Malley is not only a spectacularly gifted vocalist—the command she displays over her robust, purplish alto is breathtaking—she also knows that what the songs require is not emotional histrionics, but some elusive combination of blankness and bereftness, and she manages to nail it every damn time. About three minutes into “Shallow” she works a single syllable—”ah”—for forty-five seconds, going from hopeless to panicked to desperate to pissed-off. She manages to jam more raw human emotion into that one syllable than other artists manage over the course of an entire album.

L.A. quartet Iress’ new album “Flaw” arrives Friday as a cathartic blast of mood-shifting metal and shoegaze, dark yet inviting. In today’s QUARANTUNES, Alex Moreno and Michelle Malley talk about battling the crippling effects of the pandemic and share a playlist for feeling uninhibited.

“Underneath,” one of four singles Iress have released so from their sophomore album, is like “falling headfirst into that dark place that can be both scary and comforting,” the L.A. quartet says. That broadly applies to their entire album, “Flaw,” which finally arrives on Friday. A muscular mix of doomy, dark metal and atmospheric shoegaze, the album was produced and engineered by Sarah Tudzin of Illuminati Hotties. It’s well worth adding to your heavy-duty Catharsis 2020 playlist … and, once the pandemic lifts, experiencing in person.

HOW ARE YOU HOLDING UP AND WHAT ARE YOU DOING TO MANAGE THE ‘STAY AT HOME’ EDICT?

Alex Moreno: Working on the release of “Flaw” has kept us busy during the last few months. It has kept up some momentum and excitement for us, which has been great. During the first few months of the stay-at-home order, however, we didn’t play music together or see anyone, which was extremely hard. There was a lot of going back to the old “practice guitar in the garage” day after day. Luckily, we have been able to meet safely as a band a few times. There’s nothing like the feeling of playing with your band at full volume after that long of a break. It was very emotional.

Michelle Malley: At the beginning of lockdown, the highlight of my day was drinking coffee with my roommates. It was really hard for me to write music. I felt trapped. I started to run, do yoga and finish puzzles to keep busy. Once I was comfortable meeting, I was able to see my band again and be outside. I started to feel “normal” again. It’s been hard, but I appreciate the time I get with my friends more than ever and have been focusing on writing music and getting our album out into the world.

WHAT ARE YOU MOST LOOKING FORWARD TO WHEN THIS IS OVER?

Alex Moreno: Like most of our fellow musicians and friends, we are looking forward to seeing live music and playing again. We spent most of our free time seeing bands play every week and we miss all of our friends so much.

Michelle Malley: Shows, shows, shows. I miss them so much. It’s really hard for me to watch videos of my band and our friends bands without feeling sad. I know this will bring our music family even closer, and I’m grateful for that, but I cannot wait for this to be over so we can play live music again.

ANYTHING WE SHOULD KNOW ABOUT THIS PLAYLIST?

Alex Moreno: These are songs we have listened to on repeat over the past six months. To keep my mind busy during the lockdown, I would go on long walks for hours and listen to music — a lot of these songs in particular — over and over. It created this different landscape in an otherwise boring, suburban neighborhood. I would find myself walking further and further each time, completely diving into the realm of what each song made me feel. It was freeing in a time of feeling constricted.

Michelle Malley: Alex and I definitely connect with these songs and have some mutual repeats in our collection. It wouldn’t be an Iress playlist if there wasn’t some heavy, heart-wrenching songs.

With each new piece being revealed, it's being reaffirmed that Flaw, the coming full length by LA's dark and heavy shoegazers, Iress, is one of the most anticipated albums of 2020. The record arrives in its entirety on September 19th, 2020, and new cut, Hand Tremor, points nearer to the band's frailer and more delicate side.

"Hand Tremor, one of the first songs written for the album, was created one afternoon at home while we lived together in Echo Park," the band's own Alex Moreno and Michelle Malley describe the new song. "It addresses the battle between tenderness and isolation and the internal fight between giving in and being vulnerable. Hand Tremor was recorded live at Sunset Sound in Los Angeles."

Hand Tremor follows the three brilliant singles, Shamed, Underneath and Nest. Iress are Michelle Malley, Alex Moreno, Michael Maldonado, and Glenn Chu.

RIYL: Concrete Blonde, Chelsea Wolfe (acoustic), Emma Ruth Rundle

Be warned before you press play on the latest from Los Angeles-based rock outfit IRESS: “Nest” is melodic quicksand that will hold you fast and refuse to let go. On the first spin you will find yourself enchanted by their reverb-laden brand of post-rock. The effect is immediate: within seconds you are powerless to resist, quickly succumbing to their intoxicating allure. With that warning in mind, proceed and prepare to be wowed.

So what makes “Nest” a standout from other tracks that hover in that sweet spot of rock genre overlap? The secret lies in some kind of musical magic that we have not heard in some time. IRESS pair haunting vocals that evoke early ’90s legends Concrete Blonde and rising star Emma Ruth Rundle with expertly crafted layers of lush instrumentation. Frontwoman Michelle Malley’s delivery of each note is unhurried, allowing the listener to savor every passing moment. This atmospheric reverie begs you to listen with closed eyes. In return, IRESS reward you with a blissful fever dream you won’t want to wake up from.

The band’s new album, Flaw, arrives September 18th. Pre-order it on Bandcamp and get this song plus two others (“Shamed” and “Underneath”) immediately.

IRESS are: Michelle Malley (vocals, guitar), Alex Moreno (lead guitar), Michael Maldonado (bass), and Glenn Chu (drums).