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His last solo album had what could be described as a jangly, '60s-ish sound, and some listener reactions threw him off a bit. \u003cbr\u003e\u003cbr\u003eRunning the other way isn't exactly how his new record came about, but writing and recording \u003ci\u003eIn the Fade\u003c\/i\u003e, Molina's first under his own name in four years, did provide occasion to look back in time through his lengthy musical history while also blazing a new path forward. 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This is remarkable given not only the album's musical range but also the time span over which it was written and recorded. Sessions began in March 2020, days before things began to shut down due to Covid, and occurred on and off over a long stretch of time. Every time cases died down a bit, longtime friend and recording whiz Jasper Leach would book a flight into town and they'd hit the studio. Recording took place with Bay Area recording engineers Jack Shirley and Bart Thurber, both of whom Molina has worked with for years now, at their respective studios. Sessions were productive, but the fluctuating nature of the pandemic meant some of them occurred as much as a year apart. The long gaps between sessions sometimes prompted Molina to wonder if they would ever get to finish what they started. He recalls one particular trip to the studio on an empty BART train (an exceedingly rare sight in the pre-pandemic Bay Area) that made him wonder whether he was supposed to be doing what he was doing.\u003cbr\u003e\u003cbr\u003eThey were, thankfully, able to complete the record, and they also achieved one of Molina's chief aims entering the process: having fun with friends in the studio. That sense of fun is something you can hear throughout, and he's delighted about his friends' many contributions to the record. Sarah Rose Janko of Oakland band Dawn Riding, who's also Molina's bandmate in The Lost Days, provides added vocal harmonies (a first on a Molina solo record) to a number of songs. Leach's contributions are all over the record, perhaps most notably on \"I Don't Like That He.\" Molina describes it as the \"most indie pop-sounding song\" on the record, and a tribute to \"Chicago New York\" by Bay Area indie-pop legends The Aislers Set. \"I was just doing these really simple acoustic guitar parts and Jasper laid down this really solid drum take, and he added piano and organ to it, and it just filled the whole song… he added those solos, he did the harmony on a 12-string, and then he doubled the harmony on a piano.\"\u003cbr\u003e\u003cbr\u003eThe album evokes the sounds of some of his favorite bands: Fastbacks, The Flaming Lips, The Muffs. The simple yet ornate \"Burn Everyone,\" which evokes Teenage Fanclub's Norman Blake at his wistful best, is one of a few songs for which he cites listening to a ton of Belle and Sebastian at the time. 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Opener “Snakeskin” gently welcomes the listener with an enveloping atmosphere, before a sharply angled guitar riff in the towering second track “Ding Dong Ditch” fractures the aura. Familiar influences like Duster and David Berman can still be heard throughout, but new elements like cello—performed by Emily Dix Thomas and inspired by both Nirvana’s unplugged album and listening to Oasis’ “Wonderwall” in preparation for a Halloween cover set)—add different textures to the band’s reverberating sound. On “Chariots,” the new instrumentation blends effortlessly with Vadala-Doran and Margaris’ taut but roaming rhythm section, and adds an otherworldly mood to Giannopoulos’ lyrics. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003eOn songs like the poppy “I Poured Sugar In Your Shoes,” the hypnotic “Under The House (Skunks),” or the off-kilter “Sitting On The Porch At Night,” Giannopoulos’ molds the very specific experiences noted in the titles into meditations on life’s intricacies. Late in the album, the sub-two-minute standouts “I Put A Crown On You” and “Mask” highlight Horse Jumper of Love’s ability to economically communicate larger ideas; the former is a shining acoustic missive on appreciation blurring dependency, while the latter is a slowly unfurling plume of guitars that contemplates the physical and invisible barriers between us. “I was thinking about someone driving their car, wearing a mask–literal or not literal–and having that layer in front of their face,” Giannopoulos explains. “Then the windshield is another layer, and it’s a foggy night, so that’s another layer. You’re passing by them and there’s just all of these real and not real things between you and another person.” \u003cbr\u003e\u003cbr\u003eIt’s those kinds of details that makes Natural Part such a compelling listen. 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