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For her first solo project, the French-Chilean singer Alsy has teamed up with producers Rose, Peter Dallas and Jimmy Whoo. Co- produced with Jimmy Whoo, this EP reflects the meeting of the two artists' worlds, between the nocturnal atmosphere of Motel Music and the sunny ambiance of the singer's South American influences.

With her project Candela, Alsy has imagined her own musical universe, intimate and deep, rich in the variety of her influences. The lyrics are passionate, the rhythms smooth and warm, and the project is a subtle mix of modernity and nostalgia, between steamy reggaeton, smooth synth pop and hypnotic electro.

The singer's smooth and bewitching voice is the hallmark of this debut EP, which takes us on a dreamy journey from Paris to Santiago, against a backdrop of rhythmic and atmospheric music.

Alternative pop duo, YOVA release their brand new album ‘Dreamcatchers’ on 1st March 2024. Featuring nine tracks the album was written over a nine year period stretching from the duo’s inception in 2014 through to 2022. The album was recorded and mixed 2021-23 between home studios in Dorset and London. Discussing the themes behind the record YOVA explain: “The lyrics of the songs delve deeply into our lost and unrealised dreams and ideals, whether from a personal perspective or within a more global context. The tracks relate to how our dreams are caught then nurtured, realised, abandoned or destroyed. This can apply to our personal lives, but it equally informs our helplessness and on-going quest for self-identity at a time of deep geopolitical and ecological uncertainty.” Produced by YOVA in collaboration with Rob Ellis, Alex Thomas and Martin McDougall, the record features the duo’s earlier singles “Dreamcatchers”, “Hurt Like No Hurt” and “Feel Your Fear” alongside six brand-new tracks. YOVA assembled a collective of like-minded musicians to create the sonic tapestry of Dreamcatchers including Terry Edwards (NIck Cave, Gallon Drunk, The Jesus & Mary Chain), James Sedwards (The Thurston Moore Group/ And This Is Not This Heat), Rob Ellis ( PJ Harvey, Marianne Faithfull), Daniel O’Sullivan ( Grumbling Fur, Tim Burgess), and Alex Thomas (John Cale, Anna Calvi). YOVA are Jova Radevska and Mark Vernon. With Vernon a seasoned veteran of the alternative music scene who has managed and recorded with John Cale and co-produced tracks on PJ Harvey’s debut album ‘Dry’, a chance encounter with Macedonian vocalist and songwriter Jova paved the way for their bewitching collaborative project. Their debut album ‘Nine Lives’ was released in late 2021 to praise from the likes of Louder Than War, Electronic Sound and MOJO, with the latter hailing the album as “a beguiling debut from a duo of sonic adventurers” in their four star review

THEODOR is a psychedelic sweet soul band formed by members with diverse musical backgrounds.

Whilst on a road trip to Italy Rob and Lui were listening to tapes of contemporary soul music. The idea was born to record an album channeling a moody and relaxed soundscape. „Right after our trip we called up our good friends Max and Greg, who were immediately on board. We wrote and recorded deep in the pandemic. Those weekend sessions captured this peaceful solitude“ The outcome was their self-titled debut album which will be released in February 2023 on the french label Broc Recordz.

The rich sonic texture and unconventional arrangements of their very first single SHEPARD’S LULLABY gives a hint on what is to be expected on their forthcoming LP. THEODOR created a perfect soundtrack for a hot and humid summer day having a magic dash in your twelve o’clock tea. Playful melodic bass lines and the soulful acoustic drums build the playground for the warm and dreamy keys such as farfisa organs, fender rhodes and 80's synths. The lush instrumentals are spiced by the very different yet complementary voices of Max and Lui.

The third album by RICO FRIEBE is a clearance, an outcry, an universe within itself, a hope and a message at once – sending out ANTHEMS FOR A LOST GENERATION!

After his preceding albums of intimacy WORD VALUE and FACES MEET, based on personal tragedies and the accompanying struggles, RICO FRIEBE has something to tell to a whole generation and delivers ten radiant and distinct top-notch productions that find a most modern and futuristic sound within different styles of pop music while his soft and emotive voice is hovering above all.

Originally, ANTHEMS FOR A LOST GENERATION has been recorded as an acoustic double-album, but RICO FRIEBE threw it all out, wrote new songs and found a truly more fitting sound after he realised that there could only be one musical outcome to tell these stories: Songs like BAD SEED, I LIKE MEMES, REDO, GAMES or LAZY, BORED AND SAD are milestones of capturing a complete zeitgeist and beyond. Each line within the lyrics is taken from close and personal experiences and interactions that made him undergo a whole spectrum of emotions, creating deep worries and sadness, but also a far hope.

Feel lost? Be found! With ANTHEMS OF A LOST GENERATION...

With 'Why Don't You Go Home' Fingier produces a monster Rhythm & Blues tune that will take you straight to the King and Federal R&B sound, and for the B side, 'Cocktail De Medianoche' is the perfect mix of Boogaloo and Northern Soul. Percussion, flute and horns will make this a Fingier favourite for lovers of Latin grooves and Uptempo Soul.

Diane Ward is singer from USA, who grew up singing Gospel in her local church. Music was always a big part of her life, and she has always had a deep interest in Rhythm & Blues and Jazz. She lived in Argentina for a couple of years, and one night Kevin saw her perform and instantly her voice blew his mind. In his words:

“She’s a proper R&B singer, she reminded me to Ruth Brown, MaryAnn Fisher or Lula Reed. She has that potent and obscure soundthat took me to those lately 50s early 60s Popcorn tracks”

With two monster tracks, calling this a ‘Double Sider’ wouldn’t be enough, both with that '60s sound we've come to expect from Fingier Records.

Full of collaborations with fellow artists, incl. Thor Harris, Meredith Yayanos, Matt Lebofsky, Dominique Leroni Persi, & members of Kitka Eastern European Women’s Choir. RIYL: Primus, King Crimson, Frank Zappa, Mastodon, Bauhaus. After thirteen years of hibernation, Sleepytime Gorilla Museum, the most gloriously uncategorizable American band in existence, has emerged from stasis to proudly announce the imminent release of their fourth studio album, of the Last Human Being. The album marks the first release of AVANT NIGHT - a new imprint headed by Nick Ohler and facilitated by Joyful Noise Recordings. Sleepytime Gorilla Museum, comprised of multi-instrumentalists and rotating vocalists Nils Frykdahl, Carla Kihlstedt, Michael "Iago" Mellender, Matthias Bossi, and Dan Rathbun, plays an arsenal of instruments ranging from the somewhat standard (drums, electric guitars, bass, electric violin) to the rare (bass harmonica, nyckelharpa, marxophone) to the homemade (Slide-Piano Log, Electric Pancreas, Pedal-Action Wiggler). The group has consistently evaded easy categorization, garnering accolades from across the aisles of contemporary classical music, prog rock, industrial music, metal, avant-garde improv, and more. Their music, in turns bashing and bucolic, enveloping and unsettling, tends towards long-form epics interspersed with mysterious field recordings. "As this slow-rolling planetwide Anthropocene Extinction event deepens, Sleepytime's work has only grown more resonant, more prescient," offers Mer Yayanos, current symposiarch and secretary of the Museum's long standing social math club, the John Kane Society. "What better time for them to Bring Back the Apocalypse than right now, with a new full-length record that integrates the past and the future?" "SGM creates a cohesive statement of virtuoso metal musicianship with the avant garde focus of an art-rock collective." Pitchfork // “I love this style of music –it has great power, great musicianship and great bass playing by Dan Rathbun, sometimes on instruments he built himself. One thing you gotta love about music: this band may have been influenced a bit by King Crimson, but then I, a member of King Crimson, was very much influenced by them” Tony Levin (bassist, King Crimson

Full of collaborations with fellow artists, incl. Thor Harris, Meredith Yayanos, Matt Lebofsky, Dominique Leroni Persi, & members of Kitka Eastern European Women’s Choir. RIYL: Primus, King Crimson, Frank Zappa, Mastodon, Bauhaus. After thirteen years of hibernation, Sleepytime Gorilla Museum, the most gloriously uncategorizable American band in existence, has emerged from stasis to proudly announce the imminent release of their fourth studio album, of the Last Human Being. The album marks the first release of AVANT NIGHT - a new imprint headed by Nick Ohler and facilitated by Joyful Noise Recordings. Sleepytime Gorilla Museum, comprised of multi-instrumentalists and rotating vocalists Nils Frykdahl, Carla Kihlstedt, Michael "Iago" Mellender, Matthias Bossi, and Dan Rathbun, plays an arsenal of instruments ranging from the somewhat standard (drums, electric guitars, bass, electric violin) to the rare (bass harmonica, nyckelharpa, marxophone) to the homemade (Slide-Piano Log, Electric Pancreas, Pedal-Action Wiggler). The group has consistently evaded easy categorization, garnering accolades from across the aisles of contemporary classical music, prog rock, industrial music, metal, avant-garde improv, and more. Their music, in turns bashing and bucolic, enveloping and unsettling, tends towards long-form epics interspersed with mysterious field recordings. "As this slow-rolling planetwide Anthropocene Extinction event deepens, Sleepytime's work has only grown more resonant, more prescient," offers Mer Yayanos, current symposiarch and secretary of the Museum's long standing social math club, the John Kane Society. "What better time for them to Bring Back the Apocalypse than right now, with a new full-length record that integrates the past and the future?" "SGM creates a cohesive statement of virtuoso metal musicianship with the avant garde focus of an art-rock collective." Pitchfork // “I love this style of music –it has great power, great musicianship and great bass playing by Dan Rathbun, sometimes on instruments he built himself. One thing you gotta love about music: this band may have been influenced a bit by King Crimson, but then I, a member of King Crimson, was very much influenced by them” Tony Levin (bassist, King Crimson

Vinyl release of the album from 2023. Black vinyl in a standard sleeve. Shadowgraphs is the new self-titled album from the Portland, Oregon based band. Representing a turning point, the album was created in the spirit of true collaboration. Written and recorded in the shadow of the global pandemic and the social justice movements that sprung up in its wake, the album finds the band grappling with the changing world and their place in it. Equally inspired by classic psychedelic pop and modern indie rock, the new album finds the band branching out and incorporating shoegaze, post-punk, and dream pop influences into their sound. Highly anticipated third album from Shadowgraphs. Press coverage includes reviews and features in New Commute, Psychedelic Baby, and more. UK/EU Publicity handled by Chris Carr & Mal Smith. “…sends the group’s holographic psychedelia into a deeper realm of tryptamine alchemy.” - New Commute

Gemeinsames Album des vielseitigen, mit einem Grammy ausgezeichneten Pianisten und Songwriters Bruce Hornsby und des experimentellen
klassischen Ensembles yMusic ,unter dem Namen BrhyM.
Deep Sea Vents ist ein Album mit 10 Songs über Wasser und die Art und Weise, wie wir mit, in oder gegen das Wasser leben. Hornsbys unmittelbare
melodische Leichtigkeit verbindet sich mit der rhythmischen Präzision und endlosen Vielseitigkeit von yMusic, und verbindet die verschiedensten
Einflüsse zu einem unverkennbaren Stil.
yMusic und Hornsby haben bereits bei mehreren Bruce-Hornsby-Alben zusammengearbeitet, darunter auch bei seinem letzten Album 'Flicted 2023,
seinem dreiundzwanzigsten. In seiner langen und abwechslungsreichen Karriere hat Hornsby u.a. mit The Grateful Dead, Pat Metheny, Ricky Skaggs,
Justin Vernon, Jamila Woods Songs aufgenommen und ist mit ihnen gemeinsam aufgetreten.

Gemeinsames Album des vielseitigen, mit einem Grammy ausgezeichneten Pianisten und Songwriters Bruce Hornsby und des experimentellen
klassischen Ensembles yMusic ,unter dem Namen BrhyM.
Deep Sea Vents ist ein Album mit 10 Songs über Wasser und die Art und Weise, wie wir mit, in oder gegen das Wasser leben. Hornsbys unmittelbare
melodische Leichtigkeit verbindet sich mit der rhythmischen Präzision und endlosen Vielseitigkeit von yMusic, und verbindet die verschiedensten
Einflüsse zu einem unverkennbaren Stil.
yMusic und Hornsby haben bereits bei mehreren Bruce-Hornsby-Alben zusammengearbeitet, darunter auch bei seinem letzten Album 'Flicted 2023,
seinem dreiundzwanzigsten. In seiner langen und abwechslungsreichen Karriere hat Hornsby u.a. mit The Grateful Dead, Pat Metheny, Ricky Skaggs,
Justin Vernon, Jamila Woods Songs aufgenommen und ist mit ihnen gemeinsam aufgetreten.

REKORDER is "a kind of retrospective of myself", says M.RUX about his second, long-awaited solo album. For over 10 years, Marten Rux aka M.RUX appears as a DJ, producer, editor, remixer and multi-instrumentalist all over the world and has developed an idiosyncratic sound that opens up subtle fields of tension: M.RUX mixes a sound between experimental sound design and hooklines that stay in your ears forever. Between wild percussion and contemplative harmonies, between ecstasy and meditative calm. In his DJ and live sets, M.RUX usually steps up to the controls with a smile, discreetly bobbing his head, while the audience goes wild. He circumnavigates clichés with trustworthy certainty and develops his very own guiding threads in his selection beyond BPM or genre straitjackets. One constant is his warm, often stoically slow kick drum, which holds all that playfulness together. REKORDER is a manifestation of this typical M.RUX sound. Similar to his concept album "Vermonische Melodien" from 2020 (on the Pingipung label), the artist's curiosity is directed towards the musical visions of the past. When new music technology projected great visions of the future and when new sounds had not yet solidi ed into clichés. REKORDER refers to the recording device, spelled in a German way, because most of the recordings were made in Germany (and in England as well). Phonography is a miracle that has only been around for 150 years: Technology gifts upon us prosthetics for remembering sound. Every recording is a process, and every playback a new performative act. Recordari (Latin) is a beautiful word. It literally means to take something to heart (cor) once again (re-). This doesn't just refer to remembering, but also to a ponderous, loving, sometimes doubtful contemplation. It is a perfect headline for M.RUX’ approach to processing sound. REKORDER draws deeply from its own archive, which has ourished quite splendidly during the pandemic. Multi-instrumentalist M.RUX mixes his own recordings of banjo, guitar, auto-harp, synths, percussion and jews harp with fragments from sessions with friends that have accumulated since 2020. They unfold in the process of re-listening in the mix and transform into a solid musical tapestry. A typical gesture for this album? M.RUX bows deeply to the history of pop music - especially the blues and its melancholy, coolness and shuf ing groove. The harmonic framework of the album is based on blues scales throughout. Instead of conveying blue emotions via lyrics or the tone of the voice, as the original genre does, the synthesizer takes on this role on REKORDER. With his sound design, M.RUX achieves an ecstatic sorrow in his melodies, this gurgling portamento that is reminiscent of R&B (or even the ingenious title melody of the series "Bojack Horseman”). If voices are heard on REKORDER, then as hypnotic fragments that guide us through the groove as conjunctions: "Because...", says the voice in the track of the same name. That's enough. There are no lyrics, no literal weariness, no love-songs or storytelling, REKORDER processes all of this into timbres and groove as vessels for the album’s individual, contemplative melancholy. Never forgetting, with a gentle smile, to swing a leg.

LIMITED RED COLOURED VINYL!
REKORDER is "a kind of retrospective of myself", says M.RUX about his second, long-awaited solo album. For over 10 years, Marten Rux aka M.RUX appears as a DJ, producer, editor, remixer and multi-instrumentalist all over the world and has developed an idiosyncratic sound that opens up subtle fields of tension: M.RUX mixes a sound between experimental sound design and hooklines that stay in your ears forever. Between wild percussion and contemplative harmonies, between ecstasy and meditative calm. In his DJ and live sets, M.RUX usually steps up to the controls with a smile, discreetly bobbing his head, while the audience goes wild. He circumnavigates clichés with trustworthy certainty and develops his very own guiding threads in his selection beyond BPM or genre straitjackets. One constant is his warm, often stoically slow kick drum, which holds all that playfulness together. REKORDER is a manifestation of this typical M.RUX sound. Similar to his concept album "Vermonische Melodien" from 2020 (on the Pingipung label), the artist's curiosity is directed towards the musical visions of the past. When new music technology projected great visions of the future and when new sounds had not yet solidi ed into clichés. REKORDER refers to the recording device, spelled in a German way, because most of the recordings were made in Germany (and in England as well). Phonography is a miracle that has only been around for 150 years: Technology gifts upon us prosthetics for remembering sound. Every recording is a process, and every playback a new performative act. Recordari (Latin) is a beautiful word. It literally means to take something to heart (cor) once again (re-). This doesn't just refer to remembering, but also to a ponderous, loving, sometimes doubtful contemplation. It is a perfect headline for M.RUX’ approach to processing sound. REKORDER draws deeply from its own archive, which has ourished quite splendidly during the pandemic. Multi-instrumentalist M.RUX mixes his own recordings of banjo, guitar, auto-harp, synths, percussion and jews harp with fragments from sessions with friends that have accumulated since 2020. They unfold in the process of re-listening in the mix and transform into a solid musical tapestry. A typical gesture for this album? M.RUX bows deeply to the history of pop music - especially the blues and its melancholy, coolness and shuf ing groove. The harmonic framework of the album is based on blues scales throughout. Instead of conveying blue emotions via lyrics or the tone of the voice, as the original genre does, the synthesizer takes on this role on REKORDER. With his sound design, M.RUX achieves an ecstatic sorrow in his melodies, this gurgling portamento that is reminiscent of R&B (or even the ingenious title melody of the series "Bojack Horseman”). If voices are heard on REKORDER, then as hypnotic fragments that guide us through the groove as conjunctions: "Because...", says the voice in the track of the same name. That's enough. There are no lyrics, no literal weariness, no love-songs or storytelling, REKORDER processes all of this into timbres and groove as vessels for the album’s individual, contemplative melancholy. Never forgetting, with a gentle smile, to swing a leg.

Mannequin Pussy"s music feels like a resilient and galvanizing shout that demands to be heard. Across four albums, the Philadelphia rock band that consists of Colins "Bear" Regisford (bass, vocals), Kaleen Reading (drums, percussion), Maxine Steen (guitar, synths), and Marisa Dabice (guitar, vocals) has made cathartic tunes about despairing times. "There"s just so much constantly going on that feels intentionally evil that trying to make something beautiful feels like a radical act ," says Dabice. "The ethos of this band has always been to bring people together." Their new album, I Got Heaven, which is out March 1 via Epitaph Records, is the band"s most fully realized recording yet. Over ten ambitious tracks which abruptly turn from searing punk to inviting alternative pop, the album is deeply concerned with desire, the power in being alone, and how to live in an unfeeling and unkind world. It"s a document of a band doubling down on their unshakable bond to make something furious, thrilling, and wholly alive. Following the 2019 release of their critically acclaimed third album Patience, Mannequin Pussy returned in 2021 for their EP Perfect. They toured that release relentlessly and added guitarist Maxine Steen to the band"s official lineup. The band changed their entire creative formula, choosing to write together in the studio in Los Angeles with producer John Congleton , over slowly crafting tracks at home. "Everyone felt empowered to speak up about their own ideas to make this thing the best it could possibly be," says Regisford.

Mannequin Pussy"s music feels like a resilient and galvanizing shout that demands to be heard. Across four albums, the Philadelphia rock band that consists of Colins "Bear" Regisford (bass, vocals), Kaleen Reading (drums, percussion), Maxine Steen (guitar, synths), and Marisa Dabice (guitar, vocals) has made cathartic tunes about despairing times. "There"s just so much constantly going on that feels intentionally evil that trying to make something beautiful feels like a radical act ," says Dabice. "The ethos of this band has always been to bring people together." Their new album, I Got Heaven, which is out March 1 via Epitaph Records, is the band"s most fully realized recording yet. Over ten ambitious tracks which abruptly turn from searing punk to inviting alternative pop, the album is deeply concerned with desire, the power in being alone, and how to live in an unfeeling and unkind world. It"s a document of a band doubling down on their unshakable bond to make something furious, thrilling, and wholly alive. Following the 2019 release of their critically acclaimed third album Patience, Mannequin Pussy returned in 2021 for their EP Perfect. They toured that release relentlessly and added guitarist Maxine Steen to the band"s official lineup. The band changed their entire creative formula, choosing to write together in the studio in Los Angeles with producer John Congleton , over slowly crafting tracks at home. "Everyone felt empowered to speak up about their own ideas to make this thing the best it could possibly be," says Regisford.

Atlanta's original Eccentric Soul labels, Jesse Jones' Tragar & N ote concerns captured critical regional R&B, soul, and funk from 1968-1976. Compiling 34 tracks and sprawled across two LPs, this 15 year anniversary deluxe edition appears on vinyl for the first time. Featuring rareas- hens-teeth 45s by Eula Cooper, Tee Fletcher, Richard Cook, Frankie & Robert, Tokay Lewis, Nathan Wilkes, Chuck Wilder, Bill Wright, Sonia Ross, Sandy Gaye, Four Tracks, Young Divines, and several others we can't fit on a h ype sticker.

Hotlanta Orange Marble Color Vinyl.
Atlanta's original Eccentric Soul labels, Jesse Jones' Tragar & N ote concerns captured critical regional R&B, soul, and funk from 1968-1976. Compiling 34 tracks and sprawled across two LPs, this 15 year anniversary deluxe edition appears on vinyl for the first time. Featuring rareas- hens-teeth 45s by Eula Cooper, Tee Fletcher, Richard Cook, Frankie & Robert, Tokay Lewis, Nathan Wilkes, Chuck Wilder, Bill Wright, Sonia Ross, Sandy Gaye, Four Tracks, Young Divines, and several others we can't fit on a h ype sticker.

For the five members of Punchlove - multi-instrumentalists Jillian Olesen, Ethan Williams, Joey Machina, Ian Lange-McPherson, and visual artist Viz Wel - moving into a maze of a house in Brooklyn together was the transition that created the album they had been writing their whole lives. Quietly evolving from a bedroom project to a headlining live phenom, Punchlove has geared up a densely layered bed of emotionally serrated pain-pop songs that coalesce around a digitally-stimulated, emotional brand of modern neoshoegaze. Channels, out March 1st on Kanine Records, is an album of deeply prepared sounds, sharply honed instrumentals, and a band performing them that knows each other all the way through. Having met studying music technology in college, multiple members of Punchlove work mixing live bands at prominent NYC venues and in the studio. Using that expertise, the inhouse production, mixing, and recording is a palpable highlight; mastered by 2000s shoegaze stalwart Kurt Feldman (The Depreciation Guild), the record melds DIY recording and experimental sonic visions with studio quality. Punchlove is dedicated to pushing the envelope of experimental sonic practices in live performances, where they can be seen performing with real-time audio reactive analog visuals, executing real-time sampling and looping, self-mixing onstage, running radios and tape loops through effects, improvising, and playing guitar with everything from double bass bows to vibrators. In their home recording environment, experimentation is at the core of their creative process, where they integrate self-programmed digital signal processing systems, psychoacoustic phenomena, tailored feedback, elements of 3D audio, immersive field recording soundscapes, early electronic instruments, and experimental recording and mixing techniques into the greater backdrop of pop songwriting. FOR FANS OF: Radiohead, Wednesday, Hum, DIIV, my bloody valentine, The Smashing Pumpkins, bdrmm, A Place to Bury Strangers

Donovan’s Original
A Gift From a Flower to a Garden made for a few firsts: the first double LP of Donovan’s
career, one of the first box sets in pop and, most importantly for Donovan himself; the first
pop album for the children of tomorrow.

He resolved to make A Gift From a Flower to a Garden an album of two halves. The first,
Wear Your Love Like Heaven, was intended for his own generation as they started to think
about the kind of world they wanted to leave behind. The second, For Little Ones, was for
the children they had or would have in the years to come. The result was a kaleidoscopic
folk-jazz suite on the power of love, imbued with all the romance and mystery of an Arthur
Rackham illustration for an ancient English fairy tale. The songs, remarkably adventurous
given Donovan was a globally famous singer at his commercial height, combined the
influences he had amassed so far.

There is something about A Gift From a Flower to a Garden that could never be repeated,
though. It is such an innocent evocation of the childlike imagination, so redolent of its time,
yet set apart from it too. All these years later, the peaceful qualities of this pioneering,
enchanting, deeply unusual album feel more valuable than ever.

The state51 Box Set
With authenticity core to the project, The state51 Conspiracy engaged one of the UK’s
leading experts in box set design, Daniel Mason at Something Else, to painstakingly recreate
the box, records and accompanying ephemera. The first challenge was to find the deep blue
leatherette paper the original box set was covered in; a problem since it was no longer in
production. “I knew people who had stacks of it, gathering dust on top shelves, so I bought it
up wherever I could find it,” says Mason. Then came the reproduction of 12 loose leaf lyric
sheets on fine art watercolour paper, each of them featuring a watermark and a fairytale-like
illustration by Donovan’s artist friends Sheena McCall and Mick Taylor. Where, though, to
find the same paper stock? “I found out that it was made at a paper mill in North Wales
called Abbey Mills. Unfortunately the mill dissolved in the early 70s and very little of the
paper remained. However enough paper remained to allow us to produce the numbered
certificate also signed by Donovan that sits within the box.”

Then to the iconic cover image. Donovan and Jimi Hendrix’s personal photographer Karl
Ferris, used infra-red film to achieve the psychedelic effect on the cover, but the original
negatives couldn’t be found. Mason then used digital technology to ramp up the colour levels
on a reproduction from an original copy of the album while allowing it to remain a little bit
faded, as it would be after half a century. The same labour of love and care has gone into
producing all elements of the box; from the rebuilding of the famous front cover font to the
hand-numbered and signed certificate; letterpress printed on the original paper stock of the
1968 UK release lyric sheets.

To cap it all off the original mono master tapes were waiting safely in the EMI Donovan
Archive and transferred from tape to digital by Abbey Road Studios where new lacquers
were cut, ensuring Donovan's favoured mono version of the album would be presented both
physically (and digitally for the very first time) in striking audiophile quality. The final touch to

A pioneer of the home recording movement, Linda Smith released several collections of delicate, bewitching solo music on cassette in the 1980s and 90s. The 2021 release of Till Another Time: 1988-1996, Captured Tracks' compilation of Smith's work, has helped bestow rightful critical acclaim to the ahead-of-her-time artist. Now, Captured Tracks dives deeper into Smith's catalog with the release of two full-length companion albums, Nothing Else Matters and I So Liked Spring, available for the first time on vinyl & streaming formats. Recorded at Smith's home in Baltimore in 1995, Nothing Else Matters chronicles the tension between the mundanity of daily life and the creative impulse: Traffic noises on the charmingly boisterous "Little To Be Won" showcase this levity, as does the addition of playful hand claps and a laugh track to her striking cover of Young Marble Giants' "Salad Days." I So Liked Spring, recorded the following year, saw Smith experimenting with the unique challenge of putting another artist's words to music. She'd come across a biography of the English poet Charlotte Mew and found her wistful poetry rife for musical interpretation. The songs on I So Liked Spring are delightfully unpredictable, full of upbeat melodies and spellbinding vocal harmonies. This is perhaps best showcased on the title track, one of Smith's most popular songs to date, a lovelorn anthem that recalls the airy melodies of early dream pop. Both of these albums showcase the mesmerizing charm of Smith's songwriting, often compared to the likes of the Velvet Underground and Laurie Anderson. Home recording technology has come a long way since Smith first began recording demos on her tape machine, but her influence reverberates through the work of today's bedroom artists. The release of these two essential albums seeks to further illuminate this connection, welcoming a new generation of listeners to the work of this trailblazing artist.

A pioneer of the home recording movement, Linda Smith released several collections of delicate, bewitching solo music on cassette in the 1980s and 90s. The 2021 release of Till Another Time: 1988-1996, Captured Tracks' compilation of Smith's work, has helped bestow rightful critical acclaim to the ahead-of-her-time artist. Now, Captured Tracks dives deeper into Smith's catalog with the release of two full-length companion albums, Nothing Else Matters and I So Liked Spring, available for the first time on vinyl & streaming formats. Recorded at Smith's home in Baltimore in 1995, Nothing Else Matters chronicles the tension between the mundanity of daily life and the creative impulse: Traffic noises on the charmingly boisterous "Little To Be Won" showcase this levity, as does the addition of playful hand claps and a laugh track to her striking cover of Young Marble Giants' "Salad Days." I So Liked Spring, recorded the following year, saw Smith experimenting with the unique challenge of putting another artist's words to music. She'd come across a biography of the English poet Charlotte Mew and found her wistful poetry rife for musical interpretation. The songs on I So Liked Spring are delightfully unpredictable, full of upbeat melodies and spellbinding vocal harmonies. This is perhaps best showcased on the title track, one of Smith's most popular songs to date, a lovelorn anthem that recalls the airy melodies of early dream pop. Both of these albums showcase the mesmerizing charm of Smith's songwriting, often compared to the likes of the Velvet Underground and Laurie Anderson. Home recording technology has come a long way since Smith first began recording demos on her tape machine, but her influence reverberates through the work of today's bedroom artists. The release of these two essential albums seeks to further illuminate this connection, welcoming a new generation of listeners to the work of this trailblazing artist.