Travelling the furthest of tonight’s bands, Iress hail from LA, forming their slow, brooding flavour of metal since 2010. It’s their first time in the UK, and this much is very clear from the rapturous response they draw tonight. Vocalist Michelle Malley is full of smiles, her eyes twinkling as they launch into the bitter-sweet ‘Blush’ from the 2023 EP, Solace. I must admit that Iress were new to me before this show, but I’m immediately captivated by the soaring sincerity of their sound. Like healthyliving, they’ll be surely going onto playlists alongside Chelsea Wolfe, Slowcrush, King Woman and Miserable.

Watching Iress perform is a truly marvellous experience, and I’ll wager that more than a few tears were shed in the audience tonight. The dreamy, doomy quartet perform with confidence, nuance and passion, with a particular sensitivity to dynamics, moving smoothly from a scream to a sigh, a thundering riff to a lightly rippling melody. Their set explores songs from latest album Sleep Now, In Reverse alongside tracks from older albums, some slightly “played around with” for the stage.

With their singer cradling a gorgeous matt-black Fender Jaguar at one stage, Iress get more moving as they get heavier. But my strongest memories of this show are Michelle’s most aggressive moments, propelling beautiful angst into a stunned, soporific crowd as the band closes with ‘Wolves’ from 2020’s Flaw.

My last words have to be on Michelle’s vocals: I don’t know where this emotion comes from, but it pours from every bittersweet note, emerging as soaring, earnest cries, near-orgasmic moans, and quiet, whispered contemplation.

A few flowers remain at the end, shredded yet graceful. Iress don’t return for an encore, but the crowd won’t accept defeat and keep baying for more until well after the lights have come up.

I’ve emerged from this show with tears in my eyes and three fine new bands to explore: utterly exhausted but so glad I came.

LA band Iress recently dropped their third full-length, Sleep Now, In Reverse<. Some refer to them as dream metal, but honestly, I feel it’s much closer to shoegaze. Singer Michelle Malley has a marvellous set of pipes, angelic at one moment and raw with emotion at the next. The music is ethereal, but never is it light-hearted. The music is a dense wall of sound, populated by bassist Michael Maldonado, drummer Glenn Chu, and guitarist Graham Walker. The band’s chemistry is evident in a live setting, with Malley’s crystalline pipes overlaying it all.

The uneasy single ‘Falling’ opens this song suite, and it’s an apt title that for me, mirrors what is happening globally as the world falls down around us. It has an exquisite vocal and a strong melody. ‘Ever Under’ will hold you captive, much like a butterfly pinned to a board. It comes closer to a hallmark shoegaze song before melting effortlessly into ‘Mercy’. This has darker textures with a harder edge, but it’s always laced with a beautiful melody and Malley’s soaring vocals. ‘Leviathan (The Fog)’ is aptly named, for its feel is like fog drifting in and out of your mind. Malley’s voice is a velvety balm to the senses and is framed perfectly by the arrangement on this song. ‘Lovely (Forget Me Not)’ is straightforward indie rock, perfectly executed and played. It is a siren song that could easily lead you down a dark path.

‘The Remains’ is splendid doomgaze, ornate yet dark, brimming with emotion and angst. The dichotomy of light vs dark is never more evident than it is on this tune. ‘In Reverse’ showcases Malley’s voice, projecting it way up front in the mix. I love the way her voice cracks and how the music shimmers around her. ‘Sanctuary’ is music for a cloudy day, so kick back and savour this extended jam. The final ‘Deep’ is short and minimalist, and the somewhat ominous feeling I get is akin to hearing The Sound in their heyday, just before a wall of feedback knifes in, only to retreat like the tide going out. An unsettling end to this beautifully rendered album, possibly the band’s best work. Highly recommended for all dream pop, shoegaze, and slowcore fans.

On what is basically a Church Road takeover at this point, ethereal four-piece Iress recently released their latest full length Sleep Now, In Reverse to grand acclaim, and along with their set here this weekend, they’re marked as a band to firmly keep an eye on for very big things to come soon. One of the performances of the weekend, frontwoman Michelle Malley is so at home and effortlessly commands the audience in an almost hypnotic way with the band’s floaty atmosphere, and as good as they are on record, Iress’ songs sound just that more powerful live, leaving a hard act to follow for the rest of the day.

In contrast, Iress showcase a gorgeous blend of doom and shoegaze. Led by the impressive lungs of Michelle Malley, the Los Angeles swell as they bring tracks from the recently released ‘Sleep Now, In Reverse’ to ATG. Enthralling by an atmospheric, at times cinematic, sound, Iress has certainly won over some new admirers from this outing.

LAのポストメタル／ドゥームゲイズ・バンドの3rdアルバム。

前作"Flaw"から格段にサウンドが洗練され、ヘヴィさはそのままに繊細なパートの解像度が向上。"Adele of Doom"と謳われるMichelle Malleyの美声はこれまで以上に眩い輝きを放つようになりました。もはやChelsea WolfeやHeike Langhansといった名だたる暗黒系ボーカリストにも決して引けを取らないでしょう。

Iressらしい幽玄美とヘヴィネスの対比で魅せる#1"Falling"、悲痛な絶唱が魂を揺さぶる#3"Mercy"、#6"In Reverse"、ドゥームメタルの側面が強く出たヘドバン必至の葬送曲#8"Knell Mera"など名曲多数。間違いなく彼らの最高傑作だと思います。ドゥームゲイズオタクは必ず抑えておきましょう。

Back at the Bixler, LA’s Iress came highly recommended, and Michelle Malley’s strong yet ethereal vocals cut through thick and luscious guitars as they played tracks from their excellent new record Sleep Now, In Reverse. Another band to keep a close eye on.

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.