There’s a space between literal and abstract where art often resides, and few bands excel at navigating that surreal territory more deftly than Horse Jumper of Love. On their third full-length, Natural Part, the Boston-based three-piece revels in the act of grasping at something that can’t be held, smudging the lines between rich details, hazy memories, vivid moments, and intangible feelings to create their most captivating record to date.

Horse Jumper of Love–guitarist/vocalist Dimitri Giannopoulos, bassist John Margaris, and drummer Jamie Vadala-Doran–have steadily evolved since their formation in 2014, honing a mix of sprawling slowcore and raw indie rock across their 2016 self-titled debut and 2019’s So Divine. Now, Natural Part feels like the band’s biggest step forward yet. The group teamed once again with engineer Bradford Krieger and convened at his Rhode Island studio, Big Nice, to record. “I definitely don’t write the same way I did for the other records anymore,” Giannopoulos explains. “I never want to force anything or try to stick to a formula, and for this record I really felt like I could do whatever I wanted. I feel like I know myself a little more, like I’m a little more tapped into who I am and the songs feel more personal because of it.”

Sonically, Natural Part feels even more expansive than anything Horse Jumper of Love have done before, which is no small feat for a band whose music has often hinged on billowing guitars and roomy drums. Mixed by Danny Reisch (Sun June, Shearwater, White Denim), the album features a noticeable leap in fidelity, allowing the detailed songwriting to shine through without losing the tactile edges that imbue Horse Jumper of Love’s music with so much personality. 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.

A sense of mystery and the inevitability of change permeates much of Natural Part, with Giannapoulos often capturing snapshots that take note of a flickering feeling in the mundane, and then letting his imagination expand it into something profound. The title track encapsulates this approach as well as some of the recurring sentiments of the record: “I was thinking about the natural distancing that can happen between people,” Giannapoulos says. “They can just go their separate ways or grow apart, or it can even be people passing away. But that thought also started with me literally combing my hair,” he adds with a laugh. “The line between figurative and not gets pretty blurry. Sometimes weird shit happens but there’s some meaning there. Something will just stand out, you get immersed in it, and a song sort of flows out. It all feels like a collage of a certain time in my life.”

On 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.”

It’s those kinds of details that makes Natural Part such a compelling listen. It’s an album planted firmly in small moments that feel big: the unexpected flashes that somehow feel authentic and esoteric all at once, and cut through our busy lives to ground us in something that seems meaningful—even if we can’t fully articulate why. “I love when those moments happen and it inspires something,” Giannopoulos reflects. “It makes me feel connected to the world. When something sparks my interest like that, it just feels like this is what it’s all about.”

Front man Austin Getz doesn't blink when asked to sum up Turnover's third full-length, Good Nature. "Learning," he replies. "This whole record is about learning. Opening your eyes to new things, going outside of your comfort zone, and learning to grow into something new."

Turnover's previous full-length, 2015's Peripheral Vision, won acclaim for showcasing a dreamier side of the band's melodically-charged sound; Billboard noted that "the quartet has morphed into a moody, atmospheric indie rock band, without losing its knack for hooks." As easy as it might have been to replicate that success for its third album, the band resisted the urge to play it safe.

"It can be hard to be honest with yourself sometimes when it comes to creativity," Austin admits. Excited by the opportunities for personal and creative growth the band experienced in the wake of Peripheral Vision, they worked hard to strike a balance for its follow-up, "writing good songs but pushing boundaries, without getting strange just for the sake of being strange."

As the range of textures, tempos, and dynamics on Good Nature hints, the members of Turnover have been listening to a wider range of musical styles over the past couple years. Vintage Southern soul and blues, Bossa nova and cool jazz, electronic music, and psychedelic grooves all filtered into the mix.

"The new record definitely has a different rhythmic feel because of that," he observes. "The melodies we wrote for this record are very different, much less linear. They're much more soulful and move around a lot."

Listening to how the leisurely "Nightlight Girl" melts into a more propulsive selection like "Breeze," and the way Good Nature flows together as a seamless whole, it's also evident that the foursome has been paying closer attention to how artists from earlier eras made full-length albums. "The Beach Boys' Pet Sounds has become one of my top five favorites of all time," says Austin, citing not only the quality of the individual selections, but also the careful sequencing and use of space in the arrangements.

"I read a huge article on Frank Ocean toward the end of writing Good Nature, talking about taking his time on his records and being patient with the process, and that really inspired me, too."

At the same time Austin and his cohorts were opening up their ears, they were opening up their understanding of themselves too: "A big chunk of the record is learning to be happy." Not full-throttle exuberance, but something much more subtle and satisfying. The almost beatific radiance that imbues Good Nature comes from a place of calm and contentment, nurtured by looking inward.

"Peripheral Vision was mostly a record about feeling emptiness and not knowing what to do. This one is about the steps I took after feeling those things, and where those steps took me, and learning to try to love the emptiness."

The album's unique blend of musical and spiritual growth is immediately audible on the opening track, "Super Natural," a late-summer idyll of intertwined guitar parts and laidback vocals. "More than anything else, love has the ability to teach people selflessness," says Austin. "That song is specifically about just one type of love, romantic love, and how it became almost meditative for me. It made me feel so relaxed, but at the same time I could feel it was something so big … it's 'super natural' and it's 'supernatural.'"

From the flora and fauna that adorn its cover, to song titles like "Butterfly Dream" and "Sunshine Type," the natural world also plays a pivotal role in Turnover's latest. "Nature is a huge theme, because nature has been the teacher in my life when it comes to many things."

To record Good Nature, Turnover reunited with longtime producer Will Yip. Together, they spent more time in the studio than on any previous Turnover record, devoting hours of pre-production to methodically going through the new songs, fine-tuning parts and writing additional melodies. The bulk of the lyrics, however, were finalized during the band's 2016 European tour. "That was a beautiful atmosphere to be doing it in – and the most intense experience I've ever had as a writer."

Turnover formed in 2009 in Virginia Beach, VA and has gone on to tour extensively throughout North America, Europe, Australia, and Japan. Their discography includes three full-length albums and countless EPs and split-singles, including last year's Humblest Pleasures EP. "It's really cool to see all the change, from the first songs we ever wrote, right up to Good Nature," concludes Austin. Eight years into their career, Turnover sound better than ever. Slip on your headphones, open up your ears, and learn for yourself what the excitement is all about.