Jim Ivins Band - Everything We Wanted

Jim Ivins Band - Everything We Wanted

Unsigned, 2012

Three and a half stars

Late last fall, I stumbled upon Late Night Drive, a solo EP from Virginia songwriter Jim Ivins. It was a beautiful, introspective collection of acoustic music that culminated in one of the best songs anyone wrote all year. That song was "House of Three," a viscerally emotionally ode to his mother and the times they shared together, and it's broken my heart pretty much every time I've listened to it since. Everything We Wanted sees Ivins back in the company of his band (a four piece, including his older brother on drums), and far more buffeted by electric instrumentation and pop production, but at its heart, the record is a very natural progression for him. Ivins, who has worked with the likes of Ace Enders, opened for bands such as Switchfoot, The Ataris, and Parachute, and listed artists like Matt Nathanson, The Goo Goo Dolls, and Third Eye Blind among his biggest influences, channels all of his musical experiences into a record awash with nostalgia, introspection, and big life issues, all to a modern pop rock sound that hearkens back to bands of the late '90s or the early '00s. Indeed, while Ivins and his band remain fairly underground today, the sound of Everything We Wanted made me wonder how the band would have fared a decade ago, when this type of surging, melodic pop-rock was all over the airwaves.

A bell-like guitar heralds the arrival of "Run," the sunsoaked rocker that kicks off the set and one of the many highlights therein. Ivins' vocals sound more full bodied and confident this time, replacing Late Night Drive's falsetto atmospherics with fist-pumping choruses and a more optimistic lyrical outlook. Pounding pianos accent the song's bridge, while a drum section and a distant vocal harmony dissolve the song and give way to the anthemic guitar sound that kicks off the next cut, "The Sight of Fire." Rarely do transitions sound this good or well planned, and "The Sight of Fire" actually ends up being a better song thanks to the extended lead in that "Run" provides. The song (also the first single), is a perfect showcase of Ivins' ability to wrap difficult subject matter up in pop sensibility. Late Night Drive embraced darkness and sadness more completely, in both sound and content, while Everything We Wanted is a heavily produced, muscular set up pop-rock songs that could easily end up on the radio, but bits and pieces of that darkness still creep in here. "The Sight of Fire" is a song about the debilitating effects of addiction, a fact that passed me by until the song's key line ("Cause it's funny how we kill ourselves/When we're trying to feel alive") hit me and made me pay attention. Everything We Wanted is a catchy and sonically pleasing record from the get go, but it's also extremely lyrically driven, and it became much more resonant to me when I really paid attention to that aspect.

Three of the songs here ("Run," "Rollercoaster," "It's Getting Better") have been re-recorded from Ivins' first solo album, and while there is a notable difference in lyrical maturity between these songs and the new material (especially with "Rollercoaster," where Ivins indulges in a few cliches, only to directly acknowledge that he's doing so), it isn't jarring. Ivins has gone on record saying that the duality of the songs and their content means to represent the journey his life has taken in the years since he started writing. Where "Run" is a song about feeling young, immortal, and limitless, and where "Rollercoaster" is an irresistible depiction of first love, many of the other songs on this record are coming from a man who has lost one of the most important people in his life and been battered by the world around him. In that respect, it's a record about growing up and coming of age, where the naiveté of those three songs gives way to songs about a person who understands that life really can get hard some times, but who is still fighting through and searching for the good.

But even as Ivins seeks to find himself in these songs, the ghost of his mother still hangs heavily over the proceedings. Never is this more evident than on the title track, which carries the record out in a moving and uplifting fashion. It's a song about picking up the pieces of your life in the wake of tragedy, and in that respect, it's really a sequel to "House of Three." Where the last EP ended with Ivins packing up his life and driving away because he couldn't face the grief anymore, here he's mastered that pain and is ready to move on. As the song floats through a couple of stunning verses and an anthemic chorus, carried along by the talents of his band and the pristine, radio-ready production of Pedro Aida (Carbon Leaf), he finally comes to the realization that life really does go on. And when he sings "I'm not dead yet/Now I'm finally alive" at the song's climactic moment, it's both a catharsis and a commencement to a new life. While most of my listening tends to revolve around full length albums rather than EPs, and while I do really wish Everything We Wanted lasted beyond its 23 minute runtime, these seven songs constitute a musical journey that is both relatable and fully formed, and the result is my favorite EP of the year so far; I can only hope that The Jim Ivins Band gets the attention they deserve for it.

Jim Ivins - Late Night Drive EP

Jim Ivins - Late Night Drive EP

Unsigned, 2012

Four stars

Virginia singer/songwriter Jim Ivins has been making the rounds in the music industry for a few years now, both as a solo artist and as the frontman for the Jim Ivins Band. He's opened for the likes of the Ataris, Parachute and the Rocket Summer, draws influence from Jon Foreman and Ryan Adams, and is buddies with scene hero Ace Enders: not a bad list of names to be associated with. His latest work is an EP entitled Late Night Drive, a terrific set of acoustic based songs with topics ranging from growing up, love (both lost and found), heartbreak and death, that will surely become the soundtrack for the night drives it's title suggests. Right from the first moment of the first track, when forcefully strummed guitar chords came cascading out of my speakers, I was reminded of City and Colour's album Sometimes. That record is still probably the saddest album I've ever heard, and from the very outset, Late Night Drive occupies the same territory of strangely comforting melancholia, though Jim Ivins bears less vocal similarity to Dallas Greene than he does to the likes of Chris Carrabba or Ace Enders himself. The opening track, entitled "Love's Like Snow," introduces everything, starting with a single guitar before the entrance of Ivins' soothing, falsetto laden vocals, and it's wintery, moody tone, sets the atmosphere for the album quite well. The exquisite "Riptides," is even better, showcasing some nice guitar work and one of the strongest choruses on the album, while bells accent parts of the song and add to the ambiance nicely.

The title track follows, this time with a synth line to accompany Ivins' strums. "What is it about the night that makes us think about the things we've lost?" Ivins sings on the chorus, with wistful and nostalgic delivery. Music often hits me the hardest on lonely late night drives home, after an evening out with friends or spent at my girlfriend's house: there's something about playing records at full volume, alone in a car on a dark road that makes them ring with clarity and come alive. The songs on Late Night Drive seem to come directly from that place, and that's something that hit me hard right away. There's a strangely meditative, healing power in drives like that, and that theme cuts through every song on this EP. "Twilight," the following track, comes from a very similar place. It's a mostly piano based number with a killer vocal melody and some of Ivins' most heartbreaking lyrics, born from a relationship at it's end. "Fighting with your present because it won't become your past/Memories are for suckers who couldn't make it last," he croons on the song's bridge, bolstered by some well-placed back-up vocals. The sparse acoustic atmosphere works very well for most of these songs, and "Twilight" is terrific as is, but I feel like there's a better song in there that doesn't quite make it's way out in this arrangement. There's potential for a truly epic, bruising build to that song, a crescendo that's not quite possible with this limited instrumentation and production. It's hard to complain about a song this good, but I would be thrilled to see it done in a bigger fashion.

Ivins saves the best for last with "House of Three," a viscerally moving number that serves as an ode to his mother, who passed away last year. The EP feels like a progression, like every musical and personal moment Ivins has had across the previous four songs have built to this one piece of perfection. Ivins gives his most emotional performance on the album, understandably, and it comes across in both his vocal performance and in his guitar playing, especially in the cathartic chorus. "I don't want to have my memories/'Cause I don't need reminding that they're all that's left until eternity," he states on the verse, looking back at a lifetime of glorious moments with a person who departed from his life far too soon. He considers driving away and trying to escape it all, but by the end of the song, he seems resigned to the fact that he's lost something that no number of late night drives could ever heal, and that the pain he is feeling will probably never fully wash away. Ivins is a strong singer and a songwriter, and it shows on every track on this album, but this one is simply in another class. It's probably one of the four or five best songs I've heard all year, and it would be a shame for Ivins not to get the recognition he deserves for it.

Late Night Drive is a solid EP from a promising young singer/songwriter that I will most certainly be following from here on out. He writes relatable songs with heart and talent, and performs them with passionate emotional force. Ivins reminds me, in many ways, of some of my favorite artists ever, artists whose music came alive on the late night drives he sings about here, and although he's not going to make his way into their ranks just yet, his ability to evoke those thoughts in me is nothing to laugh about, nor is the fact that this EP closes with one of the most gorgeously perfect songs I've heard in awhile. I can only hope I hear a lot (or at least a few) more of those from him down the road.