Irepress

Boston’s fecund spawning ground has produced yet another instrumental group, Irepress ("Ear-press”), combining the math rock aesthetic of Don Caballero and the ebb and flow dynamics of Disappearer. Each composition goes through compound antonymic phases, ranging from noisy crescendos and dense rhythms to gentle acoustics and neo-ambient swatches. After a Vangelis-inspired wash, "Pah No” and "Samus” proudly proclaim their Beantown affiliation with their Cave In-like guitar picking and Isis-styled underpinnings. "Pistole” approaches Aghora’s recent experimentations, while "Snayk’s Tale” and its mirror, "June Ipper,” construct and deconstruct melodic webs of discordance with a defined hardcore hand. "Fiddler, Yee Ryding” and "A. Frid Ohm/B. Martin Eek” are intriguing suites of prog noise that Yes could saddle if they were in their 20s. And nine-minute closer "Nonografistole Adendum (Trampled to Death by Love),” with horns, no less, is more like a jazz outing by Chris Poland’s Ohm. More organic than King Crimson yet less complex than Dysrhythmia, Irepress succeed on many levels to create multicoloured math prog that doesn’t take an engineering degree to enjoy.