Jeremy Ivey - Invisible Pictures

“Bob Dylan’s influence on Ivey’s wordy songcraft, laid-back delivery and handsomely disheveled look is undeniable.” – Nashville Scene

“Twangy careworn missives, amiable introspections, and gently psychedelic romps.” – All Music Guide

“Few current artists have so effectively married searing rock n’ roll with equally biting lyricism. Jason Isbell, Will Hoge, and Steve Earle do come to mind. Yet, Ivey’s skill in wading through this gloomy landscape is his ability to make observations and raise questions rather than preach.” – Glide Magazine

“I try to put a little bit of hope into everything I do,” says singer and songwriter Jeremy Ivey. “No matter how heavy, no matter how dark things may get, there’s always a little bit of light shining through.”

Today Ivey is announcing Invisible Pictures, his third album for ANTI- Records to be released on March 11 that juxtaposes raw, unflinching personal reckonings with jaunty, buoyant performances and rich, kaleidoscopic production.

Ivey released his critically acclaimed solo debut The Dream and The Dreamer in 2019, which NPR hailed as “modern, indie [and] super-cool” and Rolling Stone likened to “Mutations-era Beck.” Ivey’s 2020 follow-up, the pointed and timely Waiting Out The Storm, was similarly well-received, with The Nashville Scene declaring that it “deconstruct[s] the ills of the day—among them racism, xenophobia and the growing wealth gap—with a critic’s precision and a poet’s compassion.”

By the time he began work on what would become Invisible Pictures, though, Ivey had shifted his gaze inwards, stepping away from the politically charged social commentary of Waiting Out The Storm to reflect on his own tumultuous journey. In just the past few years alone, he’d welcomed a daughter into the world, survived a particularly brutal bout of COVID, and watched the entire music industry slip into freefall. With touring off the table for more than a year, he decided stretch himself compositionally, returning to the complex, harmonically sophisticated music that had fascinated him in his younger years but had taken a backseat since his move to Nashville and marriage to Margo Price.

Though the songs on Invisible Pictures are rooted in a 21st century swirl of chaos and uncertainty, the record is, at its core, an undeniably feel-good collection, one that refuses to surrender to the existential ache it so artfully captures. Instead, Ivey embraces the sheer, unmitigated creative freedom and sonic exploration, drawing on everything from flamenco and classical music to vintage indie rock and British Invasion tunes to craft a passionate, transcendent album reminiscent of John Lennon and Elliott Smith. The album was even finished in Los Angeles alongside legendary Smith collaborator Rob Schnapf.

“When you sing a melody in your head, you can either put three chords around it or nine,” says Ivey, who plays one of Smith’s hollow-body guitars on the record. “This time, I aimed for nine.”