Iress can't quite believe their luck. Informing the huge crowd who have gathered that this weekend has been the seed from which last week's blinding UK tour that included playing with Green Lung sprouted, by the end of their 30 minutes onstage the California mood-rockers look like they're about to smile themselves inside out. Their music isn't quite so cheery, but it is just as delightful – delicately constructed songs that quietly and slowly melt into something massive, with shades of A.A. Williams' dark magic and a sprinkle of doom in their heavier moments. Singer/guitarist Michelle Malley has one of the most naturally powerful voices of this fest, as well, making songs from their excellent Sleep Now, In Reverse album stand out marvellously. When you're this good, luck is irrelevant. (NR)

Doomgazers Iress have flown all the way from Los Angeles just to play a half-hour post-lunchtime slot on ArcTanGent’s Bixler stage.

Their music is built around the strong voice of Michelle Malley (“the Adele of doom,” apparently) and it’s certainly quite hypnotic, but the tempo is unchanging throughout. Still, the audience seem delighted to see them, which must be gratifying given the long slog to get here.

It says a lot about the interest in Iress that the Black Heart, on a hot Sunday evening in London, is as busy as it is. A lot of people have turned out for the dream metal band, as well as the two support acts, Healthyliving and Sunnata.

Finally, it’s Iress. The headline act, coming all the way from Los Angeles, and about halfway through their UK tour (that included stops at the likes of ArcTanGent). Having released their incredible new album, ‘Sleep Now, In Reverse’, at the end of July, anticipation for a live show is stupendously high. Notable by the fact that it’s Sunday night, nearing 9:50pm and the Black Heart is still full of eager people waiting to experience Iress.

An experience that can barely be summed up in words, such is the transcendent nature of it. Where 45 minutes flies by in 5 and the word ‘mesmerising’ can’t fully describe just how watchable and listenable a show it is.

It is staggering that all the aspects of Iress that make them so unique are on full display here and every member sounds immense. Yet, how can a person speak about Iress live and not comment on the fact that vocalist/guitarist Michelle Malley sounds as strong here as she does on record. There was never any doubt, not with a voice like that, but even then, it’s bloody impressive.

It’s not the longest set, but Iress do pack in plenty, giving everyone in attendance a taste of who and what they are today, while also acknowledging where they’ve come from. They could have played for double the time and everyone would have still wanted more. The sooner they come back, the better, but for now, they left a room full of people happy, content, and even more in love with them.

Iress arrived in a rainy Manchester for only their second UK gig, supporting Hexvessel. Their recent release Sleep Now, In Reverse is their best album yet, so I was looking forward to seeing them live. Maybe because it’s their first UK sortie, they spread their all too brief set across their back catalogue, which sadly meant only two tracks from their recent release.

However, they have great quality in depth. Starting off with the duo of Blush & Ricochet from their 2023 Solace EP, they prove their description of their sound as “dark sexy heavy music” is bang on the money. Most of their songs move in a glacial manner – slow but with an awe-inspiring majesty.

At the heart of this is the unique vocal talent of Michelle Malley. Her voice moving from a gentle whisper to a powerful crescendo effortlessly. One concert goer remarked to me after the set, “she’s got an impressive set of pipes on her”, which sums things up beautifully. Michael Maldonado’s bass underpins things with a combination of soft notes and ringing bass chords, while guitarist Graham Walker adds subtle textures over Michelle’s guitar. Glenn Chu’s expansive drumming gives each song a widescreen feel; simple but very powerful.

Falling sounds spine-tingling, with its subtly shifting dynamics and gorgeous, but powerful chorus melody. Nest from 2020’s Flaw has a beautiful verse before its potent chorus. The highlight of the set is The Remains, from their new album. It raises the hairs on the back of your neck, as well as carrying the heaviest part of the set in the staccato stabs towards its conclusion.

The final song is Wolves from their 2015 debut album, Prey. It’s a great song, built around dirty bass chords. Personally, I’d have preferred the stunningly gorgeous In Reverse or the riff-heavy Knell Mera to close proceedings. However, finally seeing them live, not only matched, but exceeded my high expectations.

Come back soon, you dark sexy beasts.

Los Angeles doomgaze outfit Iress bring cathartic elegance on third full-length album Sleep Now, In Reverse – an absorbing collection of tracks that sees the band at their most elevated.

There’s a yearning for escapism that Iress tap into on Sleep Now, In Reverse that is hauntingly visceral. This record reveals a tapestry of emotions woven by a ghastly infatuation that which you can’t help but be completely sedated by it. Add to that their enchanting (but no less heavy) take on doomgaze and you’re left with possibly one of the most revealing rock and metal releases of this year. And for this to be my very first exposure to them – it’s truly an insane thought to have.

Sleep Now, In Reverse marks the Los Angeles-based outfit’s third full-length album and it’s apparent the confidence instilled in each of these songs, beginning with the record itself and how it sways like candle flames lit in an empty room: strikingly intimate yet viciously overwhelming. Moody and somber are for sure feelings you’ll immediately experience upon first listen, but you’ll soon find out that there’s an intoxicating quality to the record’s sound; a sense of completely giving in that permeates throughout it, only heightened by the ardent blend of emotionally raw vocals and hefty instrumentals. Or at least that’s what I felt when I first stumbled upon this band through one of the album’s singles “Falling”.

‘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.‘

The above comment made by the band makes so much sense after having given the record various listens. Which is interesting to think about since one of the things that captivated me about Sleep Now, In Reverse was the way the songs leaned towards being anthemic, albeit in a manner that denoted a vital moment of cleansing rather than merely seeming grand in scope. “The Remains” is a great example of this; glimmering doom passages give way to a commanding vocal performance whose sardonic lyrical tug-and-pull makes the track that much more palpable. Similarly, “Mercy” tunes the doom down a notch to offer a shimmering iteration of slowcore that really shows how enveloping the instrumentation is, particularly the drumming.

Speaking of drums – the groove laid down on “Lovely (Forget Me Not)” is absolutely tasteful. Through this album, you’ll easily notice that Iress have found the satisfying balance of playing with dynamics, being able to shift tempos and volume without things ever seeming out of place. Whether it is the balladry of the goth rock-tinged “Leviathan (The Fog)” or the miasmic grit that takes hold on “Knell Mera”, the cohesion in their songwriting is very much a catalyst to lose yourself in the album with no struggle whatsoever. The guitars notably take charge on the latter, starting with a pummeling intro that flourishes into a beautifully harrowing waltz-esque piece of work slightly reminiscent of Katatonia‘s later outputs.

“Sanctuary” then follows suit, a song I consider to be the record’s crowning moment. It’s as if all the previous tracks were setting a precedent for this one – the brooding, almost cavernous cut merging all the sonic qualities presented thus far into a riveting exhibition of doomgaze that Iress have successfully achieved with this album. Plaintive arrangements roam around in shimmering carelessness that builds up into a stirring sonic tempest, with the vocals being subtle yet also displaying some of the most impassioned vocal showcasing you’ll come across this year. The ‘I see red‘ refrain throughout the song is especially hair-raising considering how the line is delivered through cracking whispers, imposing reverence, and agonizing wails.

There is one word that ultimately describes Sleep Now, In Reverse, and that is poise. Even with the record’s bereft meanderings and the fervor that characterizes the band’s overall performance in it, there’s delicacy to all the emotional heft that set Iress apart from other doomgaze acts. Sure enough, this is the album that will mark them on the map – or at least that’s what I hope for – because there is so much here to reflect, appreciate, and enjoy. It goes without saying that this is a record you do not want to miss out, and it’s truly luck to be introduced to a band such as this one in this fashion.

Sleep Now, In Reverse is de derde langspeler van het Amerikaanse Iress. Een band die naar eigen zeggen ‘dream metal’ maakt. Zangeres Michelle Malley wordt kennelijk door haar omgeving ‘de Adele van de metal’ genoemd. Dat belooft dus wat. Is het Iress to impress? We gaan het meemaken.

Het eerste nummer, Falling, opent met wat shoegaze-achtige gitaren die zweven in een dikke laag nagalm. De dromerige zanglijnen bieden hiervoor de mysterieuze omlijsting die het nodig heeft. De vocalen hebben een iets intensere ondertoon dan we van bijvoorbeeld Slowdive gewend zijn. Mede hierdoor weet Iress echt een eigen geluid te creëren. Echter bevindt de zang soms wat te veel op de voorgrond in de mix, waardoor ze op die momenten een te overheersend karakter krijgt. Dit leidt soms een beetje af van de dromerigheid van de rest van de nummers. Als een sterke wierook die even aanwezig als bedwelmend is. Maar ook in de geur van wierook zit schoonheid. Dit geldt ook voor Iress.

Want op Sleep Now, In Reverse is veel om van te genieten. De snik in de stem van Michelle en het slepende drumwerk zorgen voor een intrigerende luisterervaring. Aangezien ze al op de planken hebben gestaan met bands als Hexvessel en Blackwater Holylight én dit jaar te bewonderen zijn op het Engelse Arctangent Festival, denk ik dat het niet lang meer zal duren voordat ze op het Tilburgse Roadburn Festival geboekt zullen worden. Ik kijk er in ieder geval naar uit.

Tijdens The Remains lijkt het alsof we langzaam opstijgen, maar net wanneer het nummer zijn climax lijkt te bereiken, is het alweer afgelopen. Het nummer In Reverse heeft vervolgens weer een wat meer ingetogen karakter, en biedt een mooi rustmoment voor het daaropvolgende Knell Mera. Een nummer dat opent met een ietwat dreigende riff die ook wel op zijn plek was geweest op het meest recente album van Hexvessel. De imponerende zang van Malley pakt je vervolgens wederom bij de lurven en sleurt je mee. Als een psychedelische trip, of een koortsdroom. Deze laat je ook op slotnummers Sanctuary en Deep niet meer los.

Iress presenteert hier een zeer aangenaam album dat bij liefhebbers van shoegaze en andere dromerigheden goed in de smaak zal vallen! Als je op zoek bent naar het forsere zwaarmetalen beukgeweld, ben je hier aan het verkeerder adres. Op de vraag Iress to impress?, zeg ik dus: “yes!”

Score:

80/100

Iress – Sleep Now, In Reverse

Los Angeles doomgazers Iress have been at it for a while, building up a following the old fashioned way, though a hectic routine of live shows and writing great, epic dirges that echo the gothic atmosphere of Chelsea Wolfe while infusing them with the intricate post-metal roar of Isis. Sleep Now, In Reverse is a new personal best for the group, an album of nuanced devastation and graceful destruction, balancing moments of quiet vulnerability with impenetrable walls of guitar. It’s worth noting that these aren’t merely their best songs, but likewise their prettiest, leaning into the knack for melody that’s set them apart from the get-go and bolstering it with an awe-inspiring physical force.

We hyped Iress‘ last full-length, Flaw, a lot when it came out a couple of years ago – now the band is back with a more modern, fashionable aesthetic and a slightly updated sound to fit in with the trend of the more gaudy side of modern doom. And they pull it off fantastically.

Church Road Records have followed the progress of LA alt-rock quartet, Iress, for some time, and it’s clear that signing them to their label is a highlight for their staff. We know that co-founders, Sammy Urwin and Justine Jones, like three things – extreme metal, metallic hardcore and shoegaze. For every death-doom, black or prog metal artist, you’ll find something more ethereal and sorrowful. After all, this is a label that hosts hardcore death metallers, Burner, and New Zealand post-punk quartet, Landlords.

Given the resurgence of shoegaze over the last fifteen years, it becomes harder to find anything interesting in this renaissance, especially among those that cite Deafheaven as an influence. Iress are one such band, but you’ll find nothing to dislike in their new album. In fact, it might annoy you how good they are if you’ve already decided to write them off as another doomgaze experiment for NME elitists and subscribers to The Guardian newspaper.

Iress tease you into a solipsistic dream as soon as Michelle Malley’s introspective vocals and the electric guitars enter after twenty seconds of light bass strumming in opener, ‘Falling’. Words soothe and sever from their meanings like splitting dew drops. The vocal lines are pleasant but tinged with an undefined sorrow. Music like this can be relaxing despite the distorted guitars and intangible chord shapes. An accompanying video showing the slow metamorphosis of a butterfly would be ideal. Everything seems to be in harmony without a conscious effort. Observe how the longing in the lyrics match the mood of the instrumentation: “Always waiting for you to call my name / Always waiting for you / You say you will, you won’t / You push and you pull.”

Of course, we’ve heard the great paradox of this record in shoegaze and in the alternative rock of the Smashing Pumpkins. Seething guitars contrast with a tone and tempo that venerates the simplistic beauty of, say, snow-covered trees or harmless sneezes in a meadow of buttercups. The verse parts in ‘Ever Under’ quieten the tempo with crystal clear drum snares guiding the direction of the words. “I can touch the pain in your eyes / I know what it’s like to be broken,” cries Malley. Much of this feels like a lullaby from a benevolent but sombre guardian who struggles to hide their burdens from those under their care. An analysis of the two guitar channels reveals some interesting mid-range chord-play and abstract pedal effects in the wet humidity.

The blurry textures are a permanent feature of this music and can become oppressive if you let them affect your listening experience. So, don’t. Instead, follow the emotions of the louder dynamics and let these be your passages underneath the waterfalls. ‘Mercy’ is not too far away from the dream-pop-meets-doom of the new GUHTS record. A gentle breeze and a misty drizzle are all you crave in your autumn solitude. The peace of being alone is sublime in ‘Leviathan (The Fog)’. You don’t need human company to be content. Here, Glenn Chu’s rim clicks mirror the soft and vibrant beats of your heart. Malley’s words pine with tuneful regret: “Didn’t wanna go / Sick obsession / Didn’t wanna go / I don’t want more.”

Michelle Malley knows how to unleash a brooding chorus at just the right time, but you need to be in a melancholy mood to get the most out of this form of art. ‘Lovely (Forget Me Not)’ is like The Sundays with intrusive electric guitars and the sorrowful fairyland melodies of Cocteau Twins. The debut Curve album feels more important than ever after thirty-two years. Those harmless whirlpools of melody emanating from the amps are easy to follow and appreciate. After all, this is just as much an album for guitarists who value the supremacy of textures over flamboyance and red emotions.

It’s not always dangerous to be in and out of consciousness – that’s the effect Iress have on you. Something as simple as heavy-gain guitars playing seventh chord shapes can be as soothing as a wet flannel to the forehead. But this record is also the band’s heaviest in their catalogue. Listen how the bass strings hang by the thread in their drooping encasement of the powerful drumbeats in ‘The Remains’. Here, Malley forces her emotions into an aching lament, dwelling on her words for a longer suspense than usual. A surprise growl of metallic guitars fights with a reverb-drenched arpeggio in the outro. Likewise, ‘Knell Mera’ evolves in the manner of a shoegaze interpretation of post-metal with luscious vocal arrangements that sparkle like empurpled petals in the early morning mist.

The albums you want to dismiss as overrated can be the most enjoyable when they connect with you. This is a prime example of the virtues of an open mind.