Lead single ‘Figs and Peaches’ hints at the depth of Natural Science, as Lindsay Reamer weaves a set of what might appear to be disparate threads into a nuanced picture of humanity’s relationship with the environment. “I wrote ‘Figs and Peaches’ after reading a trail sign about invasive plants somewhere along the Natchez Trace in Mississippi,” Reamer explains. “I learned that Japanese Stiltgrass was first introduced to North America because it was used as packing material for shipments of fragile porcelain in the early 20th century. Stiltgrass is now found pretty much everywhere east of Texas.”

But the stiltgrass is only one such example within this song alone. Reamer offers a wider picture of an environment constantly changing according to human development, something notable for how inadvertent it often proves to be. Like the stories of tropical fish gathering around the recently demolished B. L. England Generating Station in south Jersey. “It’s rumoured that the warm water surrounding the plant attracted fish that might usually migrate south which made it an excellent fishing spot. This all got me thinking about unintended consequences, which is a heavy theme within environmental history,” Reamer continues:

On an individual level, I think there’s something oddly comforting about knowing we can affect the things around us… for better or worse. In this song I’m focusing on the former. This framing makes me feel less hopeless. So, I think this song is about me trying to remember that in my own little life; to be less passive. To reach out, pick my own fruit, and own the consequences instead of waiting for it all to come to me.

A variety of collaborators bring Lindsay Reamer’s sound to life, with Tyler Bussey (guitars, banjo), Artie Sadtler (bass), Lucas Knapp (synthesizers, percussion), Juliette Rando (drums), Will Henriksen (fiddle) and Eliza Niemi (cello) all lending their talents, and appearances from Victoria Rose (vocals), Michael Cormier-O’Leary (drums), Peter Gill (guitar), Frank Meadows (bass) and Jon Samuels (vocals) on specific tracks too. What results is a sound evocative and malleable enough to chart these environmental changes. And, fittingly for a lead single searching for a more active disposition, ‘Figs and Peaches’ seizes the listener immediately with what might be the loudest track on the record.

Gardens on the land
Castles on the beaches
I trust my hand and
Pluck my figs and peaches

It’s what I want, it’s what I want

Watch the video below by John Mitchell and Reamer herself below:

Natural Science will be released on the 16th August via Dear Life Records and you can pre-order it now.

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Released to coincide with his birthday, and organised by Dan Wriggins (of Friendship) in collaboration with Dear Life Records, You Were Alone: An Owen Ashworth Almanac is a covers compilation featuring versions of Owen’s songs from family, friends, labelmates and fans. A celebration which recognises a birthday but also so much more than that. A body of work and the burgeoning legacy it has and continues to establish, not to mention the blossoming community fostered through Owen’s label Orindal Records.

And community feels like the right word for the compilation. Both in terms of the gathered artists and the characters they bring to life. Because hearing the songs in different voices really brings home the diversity of personalities present across Owen’s work. Pedro the Lion adds a weariness to ‘My Sister’s Birthday’ with his distinctively gruff fondness. Claire Cronin is the perfect person to fully excavate the spookiness of ‘Pamela’. MJ Lenderman and Karly Hartzman raise a glass to poor old Christmas Steve. Sinai Vessel captures ‘Kitty Winn’ in all its sad affection.

Some, like Lisa/Liza‘s ‘Rabbits’ or Karima Walker‘s ‘Same Dream’, take the original versions back to the traditional folk roots, while the likes of Ylayali, Moon Racer and Bedbug lean into the electronic, harking back to earlier CFTPA days. What’s impressive is how the distinctive “Ashworthian” voice remains across the spectrum. Even the tracks with no literal voice, be it Robert Stillman‘s take on ‘Christmas in Nightmare City’ or Gordon Ashworth‘s extended guitar version of ‘Nephew in the Wild’, lose none of their ability to evoke the tales we’ve grown to hold so dear. Because while Dan might have intended to organise a birthday party, it turned out more like a reunion. A gathering of Owen’s characters, our friends. Still here, still living, still with so many stories to tell.

Cover painting by Martha Miller

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