Heaviness is a concept that doesn’t necessarily require sounds that batter your senses in order for that state to be achieved. You also can pay an emotional toll that makes it feel like you’ve been battered by unforgiving black waves, pushing you to your brink, sparked by sounds that feel like they’re here to soothe. Yet, reality proves the opposite.

It’s not that you can’t absorb dream doom power Iress and not let yourself fade into tranquility, but once you hear the words and intent of their music, especially what makes up their intoxicating second full-length “Sleep Now, In Reverse,” you’ll realize you taken a path to something more sinister. Their gazey energy dressed in doomy colors stands apart from most heavy music bands, and they’re one that could find followers in metal and so many other territories. The band—vocalist Michelle Malley, guitarist Graham Walker, bassist Michael Maldonado, drummer Glenn Chu—unleashes 10 tracks and 50 minutes that, while often softer and more delicate sounding, always leave room for thunder and pain. Malley’s ethereal singing and pointed words make you realize you’re in the middle of a quiet storm with the music providing the ideal setting, lulling you into wonder that feels perfect in the nighttime but always jerks you out of any comfort zone. This record is moving and menacing, an incredibly strong musical statement.

“Falling” eases its way into your mind, the singing icing wounds, a shadowy edge getting sharper as Malley levels, “Always waiting for you to call my name.” The playing falls and teases, the words are darts, and that seeps into slumber that feels transformative. “Ever Under” feels grungy at first, delicate singing lathering with heart, the chorus rushing over you. “I know what it feels like to be broken,” Malley sings, softer melodies snaking underneath, disappearing into the unknown. “Mercy” emerges with a heavy emotional pall, the pace driving as Malley admits, “I don’t want to go, I don’t want to stay.” The singing rises, as does the tempo, sending sparks before pulling back, sounds simmering in an eerie strangeness. “Leviathan (The Fog)” plods and moves with a calculated plot, eventually landing some punches as the bruising arrives. “Didn’t want to go, sick obsession,” Malley repeats, working its way down your spine, mixing into a deep fog and eventually fading away. “Lovely (Forget Me Not)” is a little thornier, guitars dripping and leaving a sheet of uneven ice, the playing getting a little dirtier. The melodies swell before becoming more fluid, guitars blending into a ghostly gaze.

“The Remains” is cloudy and pillowy, the verses gripping your mind, the chorus warming up as the guitars soar. The playing gets a little tougher, swinging through fire, digging in and drubbing with a newfound force, churning your sore muscles. “In Reverse” bleeds into the picture, deep calling feeling like it’s emerging from your sleep, the guitars elevating the temperature as the drums clash. The pressure eases for a moment, guitars falling like sheets of rain, the singing echoing and mesmerizing, flowing directly into the shores of “Knell Mera.” Grimy playing clogs your veins as guitars melt and drizzle, making the aura feel surreal. There’s even a level of peril crawling underneath this being, swinging back and trudging, Malley demanding to know, “Will you take it over me?” “Sanctuary” starts clean, but the vocals give off a foreboding sense, Malley jabbing, “You broke me in two,” before warning, “I see red.” The melodies snake through murky waters, Malley calls, “You said I’m not what you wanted,” as the hurt and disappointment revels in blood. Closer “Deep” starts basking in shadows, guitars plucked over hushed singing, Malley pleading, “Take it easy … on me.” Electric impulses rise to the surface as the darkness emerges again, slowly letting this minimalist dream fade, the wounds you sustained trying to congeal.

Iress pull no punches on “Sleep Now, In Reverse,” using the surreal energy of their doom glaze to send unsettling energy down your spine. It’s not the heaviest record from a decibel standpoint, but you will feel every word and ride every ripple of this gloomy sojourn. Iress have been a mesmerizing force ever since they arrived, and as they build new blocks on their foundation, their prowess and muscle grow in leaps and bounds.

A-based outfit IRESS is back with a brand new track, “In Reverse,” combining elements of metal, shoegaze, and slowcore.

Known for their ambitious, layered, and sludgy compositions, IRESS first made waves with their 2015 debut album Prey. After a hiatus, they returned in 2020 with their sophomore album Flaw, followed by last year’s EP Solace and a pair of singles earlier this year. Now, they’re gearing up for the release of their highly anticipated album Sleep Now, In Reverse, out on July 26, 2024, via Church Road Records (ROW) and Dune Altar (USA).

“In Reverse” showcases the band’s heavy atmospherics and frontwoman Michelle Malley’s sweeping vocals. The track begins as a shadowy ballad, gradually descending into a storm of grunge guitars and thundering drums.

Malley’s voice, often described as a decadent siren call, floats above the instrumental chaos, blending aggression with textured, moody elements. The song epitomizes the band’s ability to fuse intricate rhythms with haunting vocal melodies.

“This song really unifies all of our different tastes,” says the band. “’In Reverse’ began with a simple verse melody but transformed into something I never expected—dare I say a mathy grunge ballad? This one really checks all the boxes when it comes to what kind of music we want to create.”

IRESS draws inspiration from a wide range of artists, creating a sound that is both unique and deeply influenced by their musical heroes.

DRAB MAJESTY’s album The Demonstration has been a profound influence on the band. “The reverb, the dramatic pace, and the experimental moments are seductive and moving,” they explain. “It exudes a timeless quality, which is exactly the vibe we aim for in our own music.”

BEACH HOUSE has also left a significant mark on IRESS’s latest work. “The use of synths and vocal harmonies in their music has been a major influence on our new record. Their music never ceases to impress and move us.”

The latest release from SLOWDIVE, everything is alive, inspired IRESS with its wispy, dreamy, and ethereal qualities. “We’ve integrated a similar sound texture into our new songs, layering countless vocal harmonies over a massive sound wall of guitars.”

MRS. PISS’s debut album Self Surgery remains iconic to the band. “It has a dark, sultry, and industrial feel. They seamlessly blend different music genres and styles into a compelling work of art. That’s exactly what we aimed for when creating Sleep Now, In Reverse.”’

Finally, KING WOMAN’s Celestial Blues provides an intense and unfiltered mix of softness, intensity, and emotion. “I am drawn to music with this kind of raw power that moves me to my core and it will continue to inspire our own heavy and experimental sound.”

With these inspirations and a lot more, IRESS continues to evolve, always exploring new dimensions in their sound.

With Sleep Now, In Reverse, they invite listeners into a realm where darkness and beauty intertwine. The band’s chemistry translates seamlessly to their live performances, leaving audiences stunned to silence, moved to tears, and immersed in a satisfying amount of crushing distortion.

Their upcoming album promises to be a cinematic crescendo that swells with intensity and wanes with sorrow. Frontwoman Michelle Malley, dubbed “the Adele of Doom” by LA music peers, leads the charge with her vocals ranging from smoky warmth to anguished belting. The band, including bassist Michael Maldonado, drummer Glenn Chu, and guitarist Graham Walker, creates an intriguing blend of darkness and beauty.

With an international touring schedule in 2024, IRESS is set to make a profound impact on the music scene. As Decibel Magazine aptly puts it, “One of the most mesmerizing vocalists in heavy music, Michelle Malley.

Her raw, yearning howl is prone to foundational cracks that only underscore its authenticity.” CVLT Nation adds, “There’s an ethereal quality to IRESS’ music that makes me feel like I’m floating in an energetic primordial ocean, being called to my next journey by a voice made of pure light.”

Over the past few years, LA-based outfit Iress have crafted an ambitious, layered, and sludgey sound, pulling from metal, shoegaze, and slowcore. The band debuted in 2015 with their album Prey and returned after a long hiatus with their 2020 sophomore album, Flaw. Since then, they’ve shared last year’s EP, Solace, along with a pair of singles this year, teasing their upcoming album, Sleep Now, In Reverse. Today, they’re back with another new track from the album, “In Reverse,” premiering with Under the Radar.

“In Reverse” shows off the band’s heavy atmospherics and frontwoman Michelle Malley’s sweeping vocals, beginning as a shadowy ballad before descending into a blur of guitars and thundering drums. Malley’s vocals conjure a decadent siren call, unfurling above a storm of grunge guitars, and massive kick drums. Though the track retains plenty of aggression, it is also textured and moody, letting the band bring their intricate rhythms and Malley’s haunting vocal melodies to the fore.

The band says of the track, “This song really unifies all of our different tastes. “In Reverse” began with a simple verse melody, but transformed into something I never expected—dare I say a mathy grunge ballad? This one really checks all the boxes when it comes to what kind of music we want to create.”

Check out the song below. Sleep Now, In Reverse is out on July 26th via Dune Altar/Church Road Records. The band also have started a Kickstarter for their upcoming European tour. You can contribute here.

We spoke to vocalist Michelle Malley about the new album, what it has taken to get to this point, and what made this specific album so special for the band. We also delve into their upcoming live performances, and Michelle takes on the Ozzy Osbone randomised section.

A banda norte-americana Iress , acaba de lançar o seu mais recente single intitulado “The Remains” no passado dia 15 de Maio.

Formado em meados de 2010 em Los Angeles , o Iress apresenta uma sonoridade calcada no shoegaze mas inserindo doses interessantes de outras vertentes como o slowcor, post-metal e o heavy metal tradicional tudo feito de forma primorosa e criando uma ambientação sombria e densa.

The single is already available on the main digital platforms.

Iress – The Remains

Doom, shoegaze, slowcore and more besides collide in Iress‘ music. New single ‘The Remains’ is another slab of melancholy that’ll tug at your heartstrings through Michelle Malley’s haunting vocals while heaving riffs crush beneath their weight, particularly in its closing moments that venture even into the tectonic heft of post-metal riffs. Where previous single ‘Falling’ showcased Iress‘ command of fragility amidst downtempo, swirling guitar, ‘The Remains’ hits with all the inevitability of the cold march of time that beats down all in its path. There’s still a beauty to be found in Malley’s stunning vocals, one that distracts from the crushing weight til there’s no time left. – Will Marshall

Iress - The Remains

If plastic sword wielding power metal is just a little too cheerful for you, perhaps you’d be better served by the cool blanket of melancholia offered by Los Angeles’ Iress on new single The Remains. Taken from their new album Sleep Now, In Reverse - out July 26 - The Remains is a gorgeously dark and alluring track that draws on elements of post-metal, shoegaze and slowcore to craft something utterly enthralling.

La escena musical de Los Ángeles ha sido crisol para un sinfín de bandas, e Iress no es la excepción. Nacida en 2010, esta agrupación ha sabido tallarse un espacio único que mezcla oscuridad y belleza sonora. Al frente está Michelle Malley, apodada por sus colegas como “la Adele del Doom”. Su voz, capaz de ir de una calidez ahumada a un desgarrador alarido. Completan el cuadro Michael Maldonado en el bajo, Glenn Chu en la batería y Graham Walker en la guitarra. Juntos han cultivado una química que se traduce en presentaciones en vivo impactantes.

Iress teje capas de guitarras demoledoras, texturas atmosféricas y ritmos taciturnos, creando un tapiz sonoro que fusiona oscuridad con belleza. Con su próximo LP, Sleep Now, In Reverse, y una gira internacional programada para este 2024, la banda invita a los oyentes a un viaje donde la penumbra y la hermosura se entrelazan.

Precisamente, “The Remains” es el segundo sencillo de este esperado álbum que verá la luz el 26 de julio. La canción se presenta como un duelo emocional desgarrador. La voz de Malley flota sobre un colchón de riffs pesados, creando un contraste cautivador. La letra, cargada de reproches, refleja la amargura de una relación rota, y remarca la sensación de derrota y aceptación forzada.

“The Remains” no es un canto fúnebre, sino una aceptación de la pérdida envuelta en la potencia sonora de Iress. Es una oda a la belleza que surge de las cenizas, dejando entrever que la banda sigue afinando su capacidad para evocar emociones crudas a través de su particular doomgaze.

Over the years Iress has evolved, always exploring new dimensions in their sound, yet always showcasing Malley’s equally fragile and ferocious vocals. Their intentionality in crafting concise songs, each flickering into existence with magnificent intensity, aligns with nuanced storytelling.