[IN YOUR EYES EZINE] Recensione : :: ACUFENI :: FASTIDI AURICOLARI CONTEMPORANEI #12

Iress “Sleep Now, In Reverse” (Church Road Records)

Gli Iress provengono dalla California. Si sono formati nell’instancabile, e poliedrica scena di LA nel 2010, plasmandosi intorno alla figura della cantante Michelle Malley, affascinante interprete del crepuscolare viaggio che la band ha deciso di intraprendere, e che li porta, oggi, a pubblicare questo altrettanto affascinante “Sleep Now, In Reverse”.

L’album, uscito in estate per la britannica Church Road Records, mostra un taglio spiccatamente cinematografico che, con grande intensità, guarda nel profondo in cerca di quella lieta tristezza che non può non ammaliare, andando a soddisfare la nostra sempre più difficilmente colmabile voglia di malinconia.

Il quartetto statunitense rappresenta una delle realtà contemporanee tra le più sottovalutate. La magia del loro tocco dovrebbe averli portati ai vertici di quel coacervo di band che si muovono tra il post metal meno aggressivo e lo shoegaze più sognante. E invece, come puntualmente accade per tutti coloro che non hanno santi in paradiso, non è così.

Gli Iress, al netto degli addetti ai lavori che ricevono puntualmente gli aggiornamenti sulle loro uscite, continuano ad essere un nome che resta relegato ai margini. Basta ascoltare questo “Sleep Now, In Reverse” per rendersi conto della magia che caratterizza le dieci tracce, e che sublima una tristissima depressione, portandoci a toccare l’estasi.

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‘Dream’ and ‘metal’ aren’t two words usually heard side by side in heavy music. LA-based doomgazers Iress, however, are proud to be the first band to officially represent the subcategory. 

“Some songs of ours are really dream-like and pretty, whereas others are heavy and dark,” says frontwoman Michelle Malley, speaking of their new album, Sleep Now, In Reverse. “It’s two completely different sides of music coming together.” 

Recorded at Pale Moon Ranch, a studio in the Californian desert, Sleep Now, In Reverse marries the lush, shadowy soundscapes of dream pop bands Beach House and Cocteau Twins with the weightier and more ‘sensual’ end of metal as represented by the likes of Deftones. It’s an album of oppositional forces and transitions; from light to dark, loud to quiet, from feelings of euphoria to melancholy. 

“A lot of this album is like a tug of war,” Michelle says, noting how the songs cover the unstable nature of relationships. “People hurt you, betray you and wrong you. Maybe I don’t express my anger in the moment, but in my songs I let it out freely.” 

In response to her tender untangling of relationships, the frontwoman has been dubbed ‘the Adele of Doom’. 

“People can’t stop saying it,” she says with a chuckle, thinking the moniker over. “I love Adele, and I have a similar kind of soulfulness in my voice, so it’s fitting.” 

Looking forward, Michelle hopes that Iress will one day support their favourite bands from both sides of the musical spectrum, including Radiohead, Deafheaven and Beach House. 

“Do we want to be the heavier band on the bill, or do we want to open for somebody heavier than us? I’m still finding that sweet spot.” Liz Scarlett

Sleep Now, In Reverse is out now via Church Road

Sounds Like: Listening to crashing waves with a lovelorn, heavy heart
For Fans Of: Chelsea Wolfe, Beach House, Deafheaven
Listen To: The Remains

[VEIL OF SOUND] Iress - Sleep Now, In Reverse

For me, autumn is the best season for gloomy and introspective music, whether it is Dark Folk or more heavier music, perfect time for Iress’ new record Sleep Now, In Reverse.

I don’t know about you but I’m one of those music fans that has a specific sound craving at certain times. We’re (finally) in autumn, I longed for this weather so much that I can’t hide the excitement for this season. If you have read something from me before you know that I tend to associate some genres to specific seasons/times.

Iress formed in 2010 and I will openly admit that I think it’s my fault that I discovered them only with this album. I have no excuses, I know, but I’m catching up!

The band has previously released two full-length records (Pray in 2015 and Flaw in 2020) and an EP (Solace in 2023); the singer Michelle Malley has been defined as the Adele of Doom, her vocal range and ability to blend in with the music is perfectly controlled (think about Messa’s Sara for example!). This is the kind of vocals I personally love in heavy music; Michelle is so expressive, and perfectly able to control her instrument any way she pleases.

Iress plays a kind of Doomgaze with preponderant vocals even though they don’t outshine the final result, it’s more like an even-tempered path where the instruments complete the vocals. Sleep Now, In Reverse is one of those records where I wouldn’t retouch anything, the band’s formula is right there, and it’s unique.

“Falling” is a great opening. There’s the perfect mix of gloomy lyrics and atmosphere backed up with loads of heaviness. Without any doubt this is one of my favourite tracks. It has everything I want to listen to during darker seasons like this (am I overly-enthusiastic about autumn? yes.).

Throughout the whole album Iress never lose track of their sound, we can have some “experiments” that don’t fall too far from the core of their identity. You may hear some soft Math-influences in “Ever Under”. “The Remains” starts softly, it makes me think about the old Hiss Spun-era Chelsea Wolfe, and since her name popped up … what about a real collaboration between Iress and her? I will pray to the music gods for this. On the other side “Knell Mera”, which may be one of the most powerful tracks on this record, has a heavy start but the verses made me think about a parallel universe where Blonde Redhead are heavier, I’d love that.

Overall, this record points out smoothly the band’s capacity and uniqueness, the balance between the whispered, softer parts is harmonized with heavier and doomer moments. Sleep Now, In Reverse could be defined as a record of melodic heavy ballads, that follows the Doomgaze path and adds the unique talent of their singer.

Too bad they already toured Europe this summer and I didn’t have a chance to go see them. Let’s hope for a comeback in the near future!

[DISTORTED SOUND] FESTIVAL REVIEW: ArcTanGent 2024

IRESS – Bixler Stage

Iress live @ ArcTanGent 2024

Since their formation in 2017, Church Road Records and ArcTanGent have been the perfect bedfellows and given the sheer beauty of their Sleep Now, In Reverse album, it’s clear to see why LA’s IRESS are on both rosters. They mesmerise the sizeable crowd with their dreamy doom-gaze, led by the soaring and impassioned vocals of frontwoman Michelle Malley, set against a wall of guitars and underpinned by a weighty rhythm section. The raw power and emotion Malley puts into the chorus of Falling is nothing short of astonishing, especially given how demure she comes across when she gives her quiet thank yous in between songs. The band showcases their versatility when they bring out the colossal riffs of The Remains, but it’s when Malley ditches they guitar to leave everything on the stage for closer Wolves that everyone in Bixler is wholly and unconditionally enamoured with these bright young souls.

Rating: 9/10

[THE PRETTY CULT] Iress detail their ethereal and heavy new album 'Sleep Now, In Reverse'

No one is prepared for the sonic and emotional journey Los Angeles-based Doomgaze quartet Iress will take listeners on with their new album Sleep Now, In Reverse. Spearheaded by vocalist and guitarist Michelle Malley, along with guitarist Graham Walker, bassist Michael Maldonado, and drummer Glenn Chu, Sleep Now, In Reverse is a powerful juxtaposition between beautifully rich and ethereal soundscapes paired with pummeling and colossal heavy arrangements. Sleep Now, In Reverse, which was partially recorded live, shows Iress firing on all cylinders and, in essence, captures the band’s undeniably rich live sound and dynamic, further brought to life by Frontwoman Michelle Malley’s evocative vocal performances and lyricism that can only be described as chillingly vulnerable. 

Released on July 26th via Dune Altar and Church Road Records, Sleep Now, In Reverse is already proving to be the band’s breakthrough album. With rave reviews from esteemed media outlets including Metal Injection, Decibel Magazine, and Flood Magazine — as well as successful tour dates across the pond in the UK, Iress may be heading into the most exciting era of their nearly fifteen-year career. In other words, Sleep Now, In Reverse is the definitive Iress album, a product of decades of hard work and creative evolution just waiting to be discovered. 

We sat down with Iress frontwoman and guitarist Michelle Malley to discuss the band’s new album Sleep Now, In Reverse, their recent UK tour, musical influences, dream collaborations, and so much more. 

[KNOTFEST] 'Sleep Now, In Reverse' Is Iress Stepping Into the Breadth of Their Potential

Iress’ third LP Sleep Now, In Reverse represents their most emotionally impactful and cathartic album yet. It’s the band realizing the sound they have, and stepping into all of the possibilities of where it can take them.

[La Habitación 235] Iress – “Sleep Now, In Reverse” (2024)

El desarrollo del mismo, si nos citamos a las fechas, viene concentrada en esa época de aislamiento vivida durante la pandemia, por lo que “Sleep Now, In Reverse” tiene ese lado más receptivo dejando esas sensaciones debatidas entre las pérdidas y la esperanza, la melancolía y la emocionalidad de las circunstancias. Y que mejor para todo esto que construir un jardín de sueños etéreos, acogidos en la zona de confort producida por los sentimientos derrochados en el álbum.

[NOIZZE] ArcTanGent Festival 2024: The Review – Friday

This is LA “dream metal” troupe Iress’ first ever UK tour, and they revel in the sizeable turnout. Gorgeous, doomy shoegaze is capped by Michelle Malley’s soulful voice, washing over the tent from the very first chord. They conjure swathes of sound that build with the inevitability of a tidal wave approaching the shore; there’s a beauty to the crushing weight of their sound as it rises and falls from moment to moment. It feels odd to experience them in the midday sun given the musical gloom, but it feels like there’s an undercurrent of hope that shines through. It’s a strong first showing from them, who as Malley admits built their entire tour around this show, with songs from latest album Sleep Now, In Reverse sounding monolithic in the tent’s confines.

[THE WAYS OF EXILE] July and August Music Round Up 2024

Iress’ album Flaw was one of the first albums reviewed on the Ways of Exile so I was very excited that four years later I was finally getting to hear their follow up and even more delighted that I get to feature it here.

On first listen, Sleep Now is an album that sits closer to the shoegaze side of the Gaze spectrum. That is until you turn it up and it becomes something much more forceful. The doom becomes more apparent. I feel like I say this nearly every month, but every month it catches me by surprise. Play your music loudly people! Escape your headphones, it changes everything.

The opener, Falling is a sweet song that introduces the album well. A mix of gentle vocals with the heavy guitar just lurking, waiting to be unleashed. The Remains has a great clean / filthy dynamic, while In Reverse has a satisfying heaviness that shows off Iress’ doomgaze edge. There’s some chunky riffs under all that sweetness, that’s best demonstrated by Knell Mera, the heaviest song on the album.

The band’s not so secret weapon is Michelle Malley’s vocals. Her sweet voice belays the incredible power it has when she lets it fly. It’s really impressive and having seen them at Arctangent festival, I’m happy to say it’s jaw dropping live.

This is another great addition to the Iress discography, a beautiful album but one with teeth, and I really, really hope they make it back to the UK sometime soon.

 
 
 
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