an unnamed condition. His family wrote that he was "currently working on a farm in West Virginia raising goats and chickens for the next year or so, and is looking forward to making great music again." On May 5, 2012, a post titled "a note from jason" was posted on the Magnolia Electric Co. website, explaining certain aspects of his situation for the first time. Saying that it had been "a long hospital year", Molina expressed gratitude and appreciation for the monetary and emotional support he had received from fans and friends. He gave a brief update on his condition, saying, "Treatment is good, getting to deal with a lot of things that even the music didn't want to. I have not given up because you, my friends have not given up on me." The note concludes optimistically, saying that there were a few music projects on the "distant radar screen". Death and legacy Molina died on March 16, 2013, in Indianapolis of alcohol abuse-related organ failure. He was 39. His friend Henry Owings published an article in his online music magazine Chunklet that said Molina had struggled with alcoholism for most of the decade leading up to his death. Owings also wrote that Molina had "cashed out on Saturday night in Indianapolis with nothing but a cell phone in his pocket". Molina was cremated. Following 2013, two posthumous 7-inch singles of Townes Van Zandt and Black Sabbath covers were released. In May 2013, Graveface Records released a double CD called Weary Engine Blues: A Tribute to Jason Molina. Additionally, a biography of Molina, Jason Molina: Riding with the Ghost, was published in May 2017 by Erin Osmon. A plaque dedicated in Molina's memory was erected on the entrance of Secretly Canadian's second storage facility. In January 2018, the indie label Dead Oceans published in homage to Molina the cooperation single Farewell Transmission b/w The Dark Don't Hide It by Kevin Morby and Waxahatchee. Two posthumous albums, Live at La Chapelle and Eight Gates, were released by Secretly Canadian in 2020. Artistry Music critics noted Molina's music for its unique blend of indie rock with blues, alternative country, and lo-fi music, which combined "Rust Belt grit with Americana music's pastoral imagery." The New York Timess William Yardley characterized Molina as a "balladeer of heartbreak". He possessed a tenor vocal range. According to Molina, he treated his work as a musician