With anticipation having reached feverish levels, Iress finally bring us Sleep Now, In Reverse, and it is a very special album. One that can be difficult to describe as Iress’ sound is unconventional. How do you describe Iress to someone who has never heard a single note of theirs but is taken in by the ‘dream metal’ moniker?

Think of it like pop-doom, with heavy and despondent atmosphere. With that, you are kind of on the right path, but then throw in a lot of emotion, and the picture becomes clearer. Especially once the loveliness of the opening track Falling is heard. Oozing melancholic vibes, there’s a ‘shoegaze’ touch to the instruments, and the vocals drift and soar through the mind. Resulting in something so surreal, that you inevitably start to sink into the Iress sound.

Deeper and deeper we go. Ever Under offering up even more forlorn sounding heaviness and heart-wrenching melodies. The word is captivating, and it is beyond impressive just how the vocals twist around the slow, methodical instrumentals. Then along comes Mercy to push the bar to even greater heights with haunting beauty and thick emotion. Close your eyes and let the Iress sound wash over you. With equal amounts of warm comfort and cold tension. You’ll feel the buoyancy, but be all too aware that in an instant, you could be dragged into the darkness below.

With unfathomable depth, truly immersive instrumentals, and entrancing vocals, the sinking continues with the most melody-laced track so far, Leviathan (The Fog). The simplicity of the rhythm, the breathy vocals, and the big uptick in power as it goes on, ensures it’s another effective effort. Before Iress offer up their peppiest effort yet in Lovely (Forget Me Not). A chance for the listener to move their body in more than just a swaying way.

So much immense power, so much incredible poise, and continuing to be achingly beautiful, The Remains takes us into the latter half of the album in style. Perfectly capturing the imagination with its moodiness, melodrama, and thick layers of atmosphere. Not to sound like a broken record, but once again, the vocals are simply gobsmacking.

You might expect some form of exhaustion to be setting in at this stage, but this is an album brimming with life and Iress consistently send shockwaves out, electrifying the mind, body, and soul. Which ensures the desire to hear what comes next is always high. It’s why In Reverse and Knell Mera prove to be as impressive as everything else heard so far. As haunting as ever, as dramatic as always, and as uniquely captivating as only they can be. Both tracks showcase a powerful instrumental section, and no small amount of beauty crossed with pain. The latter, in particular, has some really meaty guitar parts.

All good things must come to an end, and there’s not much further the listener can sink. Yet, there are still more depths to plumb, and Sanctuary is a stunning penultimate track. Beginning with subtle, soft, dark melody and atmosphere. The vocals are almost whispered, but there’s a burgeoning sense of grandeur, and when that is realised, it’s very special indeed. This track transforming into something refreshingly intense and exceptionally absorbing. The layering of vocals adds a new vibe, making it more frantic sounding.

It’s no surprise that the finale, Deep, is shorter and more like a morose outro, as following that beast of a track is near impossible. Yet, that’s no slur on this closing piece, as it is the perfect way to catch your breath and let the Sleep Now, In Reverse experience rest in the mind. All in preparation to start the sinking all over again.

Unique, incredibly well thought out, and extraordinary music. This is Iress and this is what the experience of Sleep Now, In Reverse offers.

“You talk more in my head.”

Active for about ten years, there’s a sense that Iress’ whole discography has steadily been building up towards Sleep Now, In Reverse. Going backwards, last year’s EP Solace was a re-focusing of their sound, bringing their doomgaze approach into a glossy clarity. Flaw, their 2020 record, was a foreboding and challenging listen, a huge change from the alt rock, up-tempo style of their debut Prey. Sleep Now, In Reverse is their first long play release through a label (Church Road Records), and it’s a massive album with flawless production, their most mediated songwriting, and sublime performances.

It would be wrong to start talking about Sleep Now, In Reverse without first highlighting its centrepiece, vocalist and guitarist Michelle Malley. The range of vocal techniques Malley accesses go far beyond the realm of rock and metal bands. A stellar example is “Mercy” where her voice is whispery and breathy in the engrossing verses, and soars upwards for the conclusion (“Please, take it all back…”). Tasteful layering of vocals gives heft to a few lines here and there, but she mostly stands alone in front of the shimmering tapestry created by the rest of the band. Malley’s voice is also disciplined, not leaning too hard on any inflection or single technique. The only similarity I can draw is with King Woman, a sonically different band to Iress, but Kris Esfandiari’s vocal direction elevates the band’s music to unseen heights. If King Woman make music for secretly-evil witches, Iress make music for the secretly-good ones.

Iress are also a delight on the instrumental front. Choosing the mantle of “doomgaze”, known for the likes of Holy Fawn, Spotlights and The Angelic Process, they’re a restrained take on the genre. They never let themselves hit a full “wall of sound” and are careful with any distortion and overwrought effects chains. They deal in blissful guitars, precise bass, and drums with the right amount of flourish. There is some extra space in the mix where a different band might have inserted additional lead instrumentation, but it’s good that they haven’t fought to fill every moment; it sounds like a pulled punch, and the record’s weight is all the more thanks to their steady approach. Even though there are two guitarists in play, they’re working in unison almost all the time. The main change to their sound since Flaw is the smoothing of much of the grit within the production, resulting in a more inviting listen. I can easily see some preferring the previous record’s sound, but clearly the sounds serve each of the record’s stories, and it’s facilitating to observe Iress’ evolution in real time.

A mysterious atmosphere is pervasive across Sleep Now, In Reverse; a mauve fog that shudders when the volume swells, glittering all the time. Opener “Falling” sweeps us into Iress’ weather system, demonstrating all their qualities: a focused song with huge dynamics, its bridge and chorus both offer strong hooks. The following “Ever Under” is a particularly slow track with a simple and classic riff, suitably oozing with emotion. All eyes will be on Glenn Chu whose stuttering beats dot the track and make for a memorable fade out. Sleep Now, In Reverse specialises in these lovely post-song excursions: later in the record “Lovely” also has a classy instrumental fade down, and after “Mercy”’s aforementioned climax, there’s an extended ambient interlude in its wake, and the following two tracks take it (relatively) easy. “Leviathan (The Fog)” is Iress in ‘acoustic’ mode, with blossoming choral vocals from Malley and just one burst of power from the band in the bridge. “Lovely (Forget Me Not)” feels post punk with its driving rhythms, pitching an upbeat summery groove.

The record’s second half begins with the combo of “The Remains” and “In Reverse”. It’s unsurprising this run became the record’s first singles thanks to their very memorable refrains. Having recovered from “Mercy”, “The Remains” ramps up the intensity in its choruses. “In Reverse” has a stand out bridge where vocals step back for a whole minute and a flurry of tight riffs come to the fore. A song that will inspire many comparisons to King Woman, “Knell Mera” lets the band step into full on doom metal for a moment. “Sanctuary” gets to the same doomy lows, the final fully-fledged song that ending the record in a very dark place. “Deep” is a minor closing chapter, a few ideas they saved from the cutting room floor. It’s not particularly notable given the quality of what’s come before, but it’s mostly here to finalise the record on an ambiguous mood. I’m reminded of the acoustic closer “Hand Tremor” from Flaw, or perhaps how Devin Townsend ends Ki with “Daemon League” – “Deep” similarly reflects on the moments of emotional release across the record, as if to say that these are cycles that will surely repeat.

Sleep Now, In Reverse seeks patient and repeat listeners who are ready to crank the volume – not to be crushed, but to pick up every detail of Malley’s amazing performance, and find all of the pretty minutae within Iress’ purple haze. I hope such listeners are not hard for the band to find – given the immense strength of the record, this should be their defining moment.

8.5/10

Iress’ Sleep Now, In Reverse drops through Church Road Records and can be pre-ordered here: US/UK.

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.