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 !rst 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: Tra"c 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 !rst began recording demos on her tape machine, but her in#uence 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.