Iress once again blesses us with another dose of beautiful sonic depression on their new album Sleep Now, In Reverse (Church Road Records). The Los Angeles-based band weaves between genres drifting between darker ominous tones ranging from emotionally heavy to lighter breezy speculation. This is displayed in “Ever Under” which takes you soaring into the sunset from the haunted places in the Hollywood Hills. Dynamically once again everything is perfect. Michelle Malley’s vocals lurk around the corner of grunge-influenced riffage recalling bands like Curve or Lush rather than the doomy zip codes they once occupied. This album finds Malley’s vocals sitting up front in the mix as more of a focal point than the more atmospheric texture they once created.

This is not to say that if you are a fan of their previous work, this is going to sound like the band is selling out or pandering for radio play. In fact, by making the vocals more of a focal point, they are phrased in a more articulated fashion so that the powerful nature of the content adds to the song’s intensity. The dreamier haze to “Mercy” is pulled together by Malley putting lung power to the chorus. This song is more atmosphere and driven with less rock intention, though still delivering more punch than some of their sonic peers like Emma Ruth Rundle who ventures into genres like folk. It plays to the band’s favor to stick to their guns as it creates a more melancholic longing.

The drums find an almost Police-influenced groove on “Leviathan,” though the eighties influences end there, since if you had to pin a decade to them it would be the nineties, they are not trying to recreate a particular sound, and while things sound quite delightful here they are more committed to songwriting. However, the soft-to-loud dynamic that bands like Deftones continue to carry the torch for, is also celebrated here. The key is that this is executed unpredictably rather than a set formula, which many bands default to. The bonus here is Malley’s hushed alto proves to be quite supple, as her voice reaches into new melodic corners.

This album might be another step away from metal, but it does balance a depressive atmosphere that translates into something more sonically heavy with the vocals as a counterpoint to that. The finesse of their drummer gives her plenty of catchy grooves to layer her beguiling melodies over that sometimes erupt in a more cathartic fashion. The drummer does lay into the cymbals when it’s time to get serious. The overall vibe of the album is less of an oppressive doom mood, though there are more intentionally metal moments one of them can be heard on “Knell Mera” though they take you on a journey with impressive dynamic breadth. Things take a different turn for the last two songs that work off more of a brooding tension, like a distant storm inching closer to the storm as the dusk settles, with her voice serving as the rain that falls to create the dynamic release. This album feels like a mature step forward for the band as songwriters.

Buy the album here:

https://weareiress.bandcamp.com/album/sleep-now-in-reverse

9 / 10

WIL CIFER

Der Soundtrack zur Sommerromanze 2024: Mit „Sleep Now, In Reverse“ erschaffen IRESS schwül-sinnliche Doomgaze-Träume.

Es gibt Nächte, in denen die rot glühende Sonne wie in Zeitlupe untergeht und den orangefarbene Himmel wie eine Verheißung anmutet. Wenn die schwere Luft steht, am Rande der Dunkelheit, dann vermischt sich Traum mit Realität. In den Betten wird gewälzt, auf der Suche nach etwas Kühle, während es mit der Erotik nicht so weit her ist. Und doch gibt es um die Zeit von Canis Major eine Sinnlichkeit die lockt, mit Eros in Lauerstellung. All das gießen IRESS in ihr Album „Sleep Now, In Reverse“. Die kalifornische Doomgaze-Band hat schon auf ihrer letztjährigen EP „Solace“ eine gute Figur gemacht, also was soll an dem dritten Album der Band schiefgehen?

Michelle Malleys entwaffnende Stimme steht im Zentrum der Musik: „Sleep Now, In Reverse“ lässt hin und wieder vergessen, dass IRESS eine volle Band ist.

IRESS liegen mit ihren sinnlich-atmosphärischen Songs irgendwo zwischen KING WOMAN und HOLY FAWN, mit einem Hauch „White Pony“-DEFTONES und SLOWDIVE. Ganz klar, hier gibt es große Gefühle, und das, obwohl sich IRESS in Sachen Pathos zurückhalten. Sängerin Michelle Malley muss mit ihrer gehauchten, rauchigen Stimme ihre Lyrics nur hinaussingen und schon mit dem Opener „Falling“ mag man ihr verfallen. Bei dieser Stimme gerät die Band fast in Vergessenheit, doch Gitarrist Graham Walker, der mal wavige und mal breitwandige Riffs spielt, mal subtile Melodien aus sich fließen lässt und hin und wieder nur kleine Akzente setzt, kreiert zusammen mit der Rhythmuseinheit die Basis der Songs.

Auch wenn „Sleep Now, In Reverse“ zehn Songs lang vor sich hin schwelgt, unterscheiden sich die einzelnen Stücke voneinander. Da gibt es die nahezu metallische, bisweilen dramatische Heaviness in „The Remains“ und „Knell Mara“, die der Band etwas weniger gut steht als die schwebende Melancholie von „Leviathan (The Fog)“ uns „In Reverse“. Und doch funktionieren beide Pole von IRESS, gerade wenn sie wie in „Ever Under“ und „The Remains aufeinander treffen. So schafft die Formation es, dass „Sleep Now, In Reverse“ in sich geschlossen klingt und subtil abwechslungsreich ist. IRESS funktionieren als Quartett, setzen keine großen Soundeffekte ein, jedes der Bandmitglieder hat im Soundbild seinen Platz. Und genau hier ist die Erfahrung der seit 2010 aktiven Band spürbar.

IRESS balancieren zwischen Verträumtheit und Heaviness: „Sleep Now, In Reverse“ ist gerade dann am besten, wenn beide Pole verbunden werden.

„Sleep Now, In Reverse“ ist gleichermaßen heavy und gefühlvoll, kann aber nicht immer zupacken. Zwischendurch gibt es da einige Momente, in denen sich die Musik ein wenig zieht, hin und wieder wirken die Instrumentalisten zudem etwas unterspannt – siehe „Mercy“ – und könnten etwas zwingender agieren. Und doch klimaxen IRESS mit dem unfassbar schönen „Sanctuary“, das sich zu einem kleinen Epos mausert und das Album sehr versöhnlich enden lässt. Am Ende der 50 Minuten ist von Abkühlung keine Spur – durch IRESS fühlt sich die Nacht noch etwas schwüler an. Der Soundtrack zur Sommerromanze? Bestimmt. Ob aus dieser Affäre eine Langzeitbeziehung wird? Die Chancen stehen nicht schlecht.

Wertung: 7,5 von 10 Pfeile Armors

Active on the Los Angeles underground since 2010, moody quartet Iress finally look set to attract wider attention after a clutch of self-released and low-key albums. That time has been spent becoming more than the sum of their parts, said components being the desolate beauty of singer Michelle Malley’s voice and her band’s considered blend of shoegaze and post-metal. On this new full-length, the latter’s straightforward appeal gains greater emotional impact from the mournful vocal melodies, which in turn benefit from the graceful power of the musical context.

Perfectly chosen singles Falling and The Remains encapsulate the appeal of Iress, slowburning tunes which cast a compelling spell as they gradually reveal their magic. Ever Under is a showcase for Michelle’s ability to project poignancy in both subtle and stormy settings, while sort-of title track In Reverse sounds like ethereal art school types Bat For Lashes or Florence & The Machine given a chunky-riffed makeover. Speaking of which, Knell Mera finds the band at their most explicitly metallic, even if the grandiose doom on offer co-exists with understated and portentous gothy verses.

The enveloping mood that persists throughout Sleep Now, In Reverse is conjured so wholly that some of its songs struggle to emerge through the gloom. Closing track Deep offers a modest corrective, stripping things back to just Michelle’s fragile vocals and a simple, heavily-reverbed guitar figure. The raw intimacy on display suggests that Iress would benefit from exploring the boundaries of their sound a little more next time. There is, however, plenty here in which to lose yourself, a sonic sanctuary for those willing to wallow in exquisite melancholy.

Verdict: 3/5

For fans of: Slow Crush, Spotlights, Chelsea Wolfe

Los Angeles’ Iress is set to bring a beautiful touch of doom to this heavy summer with their fourth full-length album, Sleep Now In Reverse, out Friday on Dune Altar. Deepening their craft, blending shoegaze, doom, and post-rock, when asked to describe the album in five words or less, frontwoman Michelle Malley was considered in her response: “Seductive. Dynamic. Emotional. Melodic. Cathartic.” We couldn’t agree more. For fans of Faetooth and Chelsea Wolfe, you can preorder the record here. While you await its arrival, enjoy an exclusive full album stream below. As a special treat, we caught up with the “Adele of L.A. Doom” herself to discuss Iress’ evolution, creative process, and the themes that shape their music.

Sleep Now, In Reverse marks a decade of releasing records together as Iress. It’s a fun exercise to listen through your catalog, hearing the growth as artists while maintaining a through-line in your sound. From a fan’s perspective, the core emotion is still there, with a noticeable upward trend in everything from instrumental confidence to production dynamics. Does this ring true from the stage side of the auditorium? Better asked, are these conscious areas you discuss, or would you say this is just a natural evolution of working and performing together?

It has undoubtedly been a natural evolution and progression stemming from our long-standing friendships and years of creating music together. Our shared passion for music and Iress is evident in everything we do. As we have grown, so has our music.

I imagine 2020 was quite frustrating. You’re sitting there with an excellent record on your hands, yet limited in typical promotional abilities for Flaw. How—if at all—did those constricted activities influence your approach to Sleep Now, In Reverse?

As for many, 2020 proved to be a challenging time for our band. Each member faced personal struggles, and we also had to deal with the departure of a bandmate due to the trials brought on by the pandemic. Despite these obstacles, Flaw surpassed our expectations with its success. It opened up new opportunities and gained more attention than we had anticipated, which provided a glimmer of positivity during a tough period. During the pandemic, we also connected with Graham [Walker], our new guitarist and a longtime friend, which has been incredibly positive for us.

Many bands have talked about a tug-of-war between their pandemic and post-pandemic releases, almost as if they’re promoting two records simultaneously. Does that resonate with you? If so, how do you create the space for them to breathe in the world together as individual works and unified representations of Iress?

We didn’t have the opportunity to tour Flaw or have a traditional release show, but it still had a significant impact. Even though it wasn’t a standard release, we didn’t feel like we were simultaneously juggling the promotion of two records. Instead, we were all eager to progress, write new music, and embark on a fresh chapter for Iress.

It’s always interesting to hear the creative journey of a song—or collection of songs—from inception to final product. Did you enter the studio with the songs written, fleshed out as demos, and ready to capture; did the create and capture process happen in tandem, or a mix of both?

It was a true fusion of both elements. The songs were meticulously crafted, demoed, and structured, but we had only managed to rehearse a few of them a handful of times. Given the highly collaborative nature of this album, each of us had to instruct and absorb specific parts and engage in refining and altering certain aspects during our studio sessions with our producer, Alex Estrada (Silver Snakes). Coming together in the studio with Alex was a transformative experience, breathing new life into the music and allowing the songs to flourish right before our eyes.

Could you tell me about the production of Sleep Now, In Reverse? Did you take a familiar route, or did you try something new?

We worked with Alex to record both Solace and Sleep Now, In Reverse at The Pale Moon Ranch [a residential studio in the foothills of the San Gabriel Mountains east of Los Angeles], which was an unforgettable experience. We decided to incorporate some new and innovative elements [with the new album] while maintaining some similarities with the previous EP. For this project, we took a different approach by recording many of the tracks live, with drums, bass, and guitar all performed together. We also experimented with recording drums and vocals in separate rooms using different microphones and introduced synthesizers. Since this is the most collaborative album we’ve ever created, I had the most fun developing melodies because these songs are so different.

It’s reasonably well-documented that you like to leave lyrical meanings up to interpretation. Without asking for specifics of any song in particular, could you tell me about any personal or professional themes that informed the overall tone of Sleep Now, In Reverse?

The band knows I tend to wait until the last second to finish lyrics. This time, I had the basic framework and meanings of the lyrics, then Graham and I completed them together in the studio during the vocal recording phase – the desert setting of The Pale Moon Ranch brought us even closer to these songs. Though I do like to leave lyrics up to interpretation, I genuinely like to chat about the meanings of our songs. It’s just hard to do in just a few words. I will say that I really let go with these lyrics. I wasn’t in my head as much. I just put everything out there and was true to myself and my raw emotions.

Is there anything more meaningful or meaningfully different about this collection of songs than previous recorded outings?

It feels like the theme of Sleep Now, In Reverse is transformation. We have been through so much. I think we are finally where we need to be, and we know exactly where we want to go.

Is there anything you’d like your listeners to take away from Sleep Now, In Reverse? A thought, feeling, or contemplation?

As a listener, it’s important to see this album as a journey and let it carry you along. Alex joked that an intermission might be necessary because of the record’s emotional depth. When he played ‘Falling’ for his mother during a studio visit, she was moved to tears right before us! It was a powerful moment that made us realize these songs might deeply resonate with our fans.

As you prepare for your upcoming U.K. tour and dates beyond, are there any songs from Sleep Now, In Reverse that are surprising you energetically that you’re excited to perform for fans?

Oh absolutely! First of all, we are thoroughly excited to perform all of our new songs, but I know we have talked about potentially performing ‘Mercy’ at the Arctangent Festival. That would be an epic moment for us. ‘Falling’ and ‘The Remains’ are also super fun to play. I am personally eager to include some of our older songs in the setlist. This will be our inaugural performance of these songs for our UK fans, and it will feel like a fresh experience for all of us.

For over a decade now Los Angeles based Iress has been offering their own take on shoegaze, doom, alternative rock, and everything in between.  Where some of the other bands in this space used doom as their foundation and layered the softer, dreamier textures over top, Iress has often felt more rock and shoegaze forward with a metallic sheen.  Each of their full lengths has continued to tweak and revise this formula, with Sleep Now, In Reverse presenting the most complete version of their vision to date.  Like the path Spotlights took on their last effort, Iress has varied the tempo more and incorporated even more musical styles while still retaining their somber beauty and heavier foundation.  It’s a bit more immediate than its predecessors while providing plenty of details to uncover upon repeat listens, and showcases this group only seems to be getting better with age.

Where Flaw seemed to immediately emphasize the weightier and gloomier side of Iress’ sound, Sleep Now, In Reverse opts to start off on a brighter note with opener “Falling”.  The slower, methodical tempo and weight of the bass and drums still bring plenty of the shoegaze and doom elements that the band has showcased throughout their career, but the way the guitar melodies seem to dance over the recording give a more dreamlike feel right from the start.  From this point onwards it becomes clear just how much more variety the group has for listeners on this latest effort, as where some of their prior material was a bit more uniform in tempo and tonality that’s not true here.  Songs like “Lovely (Forget Me Not)” are perfect examples, as it moves at a brisker and almost playful pace while the guitar work feels like shoegaze and alternative rock crossed with some of grunge’s somberness.  On the other end of the spectrum, “Mercy” and “Sanctuary” slow things back down significantly, letting the instrumentation build from minimal textures and haunting melodies to crashing peaks where the metallic sheen is back on full display.  The back and forth between the more 90s alternative rock/grunge influences and the power and weight of the shoegaze/doom comes together in a way that’s more immediate than some of Iress’ back catalog, as there are more hooks that stand out on that first listen.  At times the sound treads closely to artists like Emma Ruth Rundle and King Woman, but the way that everything comes together still gives Sleep Now, In Reverse a feel of its own.  While it’s still a somber listen there are some hauntingly beautiful moments to the instrumentation, and the injection of some faster tempos and even more elements from across rock’s various sub-genres goes a long way.  My only critique is closer “Deep”, which feels a little unnecessary after the climax of “Sanctuary” and with the way it kind of just meanders for a few minutes with sparser instrumentation makes it seem better served as an interlude rather than the final track.

There may be plenty of lush textures from the guitars that will draw listeners in, but Michelle Malley’s soaring voice continues to be what sets Iress over the top.  Her pitch is pretty close to Emma Ruth Rundle’s at certain points with the way it seems to lightly hover over the recording before soaring into the clouds with a considerable amount of power during the song’s peaks, but I also hear a number of other 90’s singer/songwriters.  “Lovely (Forget Me Not)” is a favorite of mine, as the way that Malley’s more somber and reflective tone intertwines with the moodier bass lines and shimmering guitars is stunning, and there are plenty of other moments throughout Sleep Now, In Reverse that have a similar sense of beauty.  The album has also been mixed in a way that allows the vocals to take the spotlight without completely overwhelming the more subtle details from the rest of the band, giving listeners plenty to uncover as they spend more time with the material.

Iress has come a long way since their formation in 2010, and while their core approach of fusing alternative rock, shoegaze, and doom hasn’t wavered they’ve added even more outside influences and varied up their songwriting.  Where some of their earlier discography may have felt a bit uniform in how the tracks progressed and their slower, methodical approach, the shift towards a blend of tempos makes for more immediate hooks while still allowing for expansive atmosphere.  For me it also feels like the album from this group I’ve been able to connect with the most, and whether you enjoy the slowcore of the 90s, more recent “doomgaze” adjacent artists, or anything in between, this is a must listen.  Sleep Now, In Reverse is available from Dune Altar and Church Road Records.

-Review by Chris Dahlberg

Die ‚Adele des Doom‘ erhebt wieder ihre Stimme. Diesen witzigen wie liebevollen Spitznamen von ihren Kolleg*innen der Musikszene in Los Angeles hat sich Michelle Malley redlich verdient. Als Sängerin von Iress schafft sie es wie nur wenige, ehrliche Emotionen in jede (musikalische) Situation einzubringen. Samt Band ist sie nun, nach zwei Alben und einer EP in Eigenregie, bei den Feinschmeckern von Church Road unter Vertrag. Hier erhält der packende Mix aus Doom, Dark Rock, Shoegaze und Slowcore in Form der neuen Platte „Sleep Now, In Reverse“ die passende, verdiente Bühne.

Im Grunde sagt der Opener „Falling“ bereits so ziemlich alles und bereitet doch nur rudimentär auf das folgende Wechselbad der Gefühle hin. Langsam angeschlagene Instrumente, bleiernes Tempo und dazu die helle, ausdrucksstarke Stimme – die perfekten Zutaten für nahezu unendliche Melancholie, die sich vor allem in den Harmonien einbrennt. Binnen kürzester Zeit erzeugen Iress einen wahren Klangwall mit leichten Variationen, der selbst in einem von Heavyness geprägten Zwischenspiel kaum ausbricht. Das folgende „Ever Under“ wirkt reduzierter und dramatischer zugleich, lässt die sägenden Gitarren bewusst aus den Tiefen des Arrangements kommen, wirkt dadurch kraftvoller und zugleich luftiger.

Derlei Widersprüche setzt es immer wieder, siehe und höre auch „Sanctuary“. So avantgardistisch klingt das US-Quartett nur selten, setzt in der Zweitstimme sogar ein paar Schreie und Growls ein, mit denen die Nähe zu Chelsea Wolfe sogar noch deutlicher ausgelebt wird. Infernale Abfahrten und harmonische Süße zwischendrin liefern sich einen bewusst entschleunigten Zweikampf. Hingegen wirkt „Lovely (Forgive Me Not)“ von der ersten Sekunde an launisch, dockt an 90s-Alternative-Klänge an und lässt zugleich im Unterbau ein nicht näher benanntes Feuer lodern. Hier wird es bald rundgehen, meint man, doch intensivieren Iress letztlich ’nur‘ die Atmosphäre und ringen ihrem Sound ein Mehr an Strahlkraft ab.

Exakt dieses Spiel mit Klangräumen und Erwartungen macht das dritte Album dieser Band so faszinierend. „Sleep Now, In Reverse“ haftet zugleich etwas Vertrautes und doch Widersprüchliches an. Man glaubt zu wissen, wohin die Reise geht, lässt sich aber wiederholt und mit wachsender Begeisterung überraschen. Diese kleinen, überaus feinen Zuckungen, das Spiel mit intensivsten Gefühlen und das tiefe Eintauchen in die Untiefen des Seins, von bittersüßer Melodik und einer wahrlich herausragenden, einzigartigen Stimmung begleitet, schaffen immersiven Hörgenuss der herausragenden Sorte. Iress schütteln eine kleine Schönheit von einem Album aus dem Ärmel, der man sich nicht entziehen kann.

Wertung: 8/10

Join Dave & Duncan as they review the new album from Los Angeles-based dream metal band, IRESS.

Entspanntes Träumen in anderen Welten.

Als es in der Redaktion mal wieder darum ging, die aktuellen Bemusterungen zu verteilen, stand hinter "Sleep Now, In Reverse" von IRESS die wunderbar unkonkrete und für viele Metaller wohl antagonistische Genrebezeichnung "Pop/Metal". Obwohl die Begriffe wie Gegensätze wirken, sind sie im modernen Metal wohl eher Symbiose. Man denke nur mal an Bands wie SPIRITBOX, SLEEP TOKEN oder FUTURE PALACE, die harte Gitarrenklänge mit Ausflügen in den modernen Elektro-Pop verbinden. Gerade diese ungenaue Beschreibung der Musik weckte meine Neugierde, ohne jemals auch nur irgendetwas von der Band mitbekommen zu haben.

Tatsächlich handelt es sich bei "Sleep Now, In Reverse" bereits um das vierte Album der Band IRESS, die sich im Jahr 2010 in Los Angeles gegründet hat. Allerdings sind ihre ersten drei Platten ohne Label und im Eigenvertrieb erschienen, weshalb der Bekanntsheitsgrad der Truppe vor allem in Europa äußerst gering ist. Erst seit 2023 haben sie zumindest drei Singles in den USA über Dune Altar vertrieben. Das neue Album erscheint nun auch in Europa via Church Road Records.

Völlig ohne musikalische Vorahnung hörte ich also in die Platte rein. Der Opener 'Falling' beginnt mit ruhiger Gitarre und etwas Snare auf dem Schlagzeug, etwas später zünden die ersten verzerrten Sechssaiter. Fahrt nimmt der Track jedoch nicht auf, es kommen erste Gedanken an eine Band wie SLOWDIVE oder auch an die Künstlerin CHELSEA WOLFE auf. Wir befinden uns hier also nicht in einer modernen Symbiose aus Metal und Pop, es geht viel sanftmütiger daher. Dadurch lässt sich die Genrezuschreibung deutlich präziser fassen. Die Musik von IRESS schwankt irgendwo zwischen härterem Shoegaze, Slowcore und Atmosphere/Ambient.

Der fast schon traditionelle Nachteil an dieser Musikmischung ist, dass die Lieder alle sehr ähnlich klingen. Selbst nach mehrmaligem Hören kann kaum unterschieden werden, um welchen Track es sich genau handelt. Allerdings ist das wohl eher als zweitrangig zu betrachten, denn es geht auf "Sleep Now, In Reverse" um das Erzeugen einer Atmosphäre, die einen in andere Welten entführt. Kräfte, aber ruhige Gitarrenwände ohne Hektik treffen auf die herausragende melancholische Stimme von Michelle Malley, die in der lokalen Szene von Los Angeles bereits als "Adele of Doom" bezeichnet worden ist und deren Gesang ein wenig an Stefanie Mannaerts von BRUTUS, aber ohne Wutausbrüche erinnnert.

"Sleep Now, In Reverse" von IRESS ist ein spannender Longplayer geworden. Auch wenn keine einzelnen Songs hervorstechen, funktioniert die Scheibe mit ihrem Gesamtkonzept wunderbar. Wenn man sich auf die Musik einlässt, kann sie einen aus dem Alltag herausholen, zum Träumen einladen und in entspannte Sphären katapultieren.

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.