Childhood's End (subtitled Lost & Found from the Age of Aquarius) is a compilation album of cover songs by Norwegian experimental collective Ulver. Produced by Ulver, the album was recorded live in Crystal Canyon Studios, Oslo, over two sessions, in autumn 2008 and summer 2011, and issued in May, 2012 on Jester Records under exclusive license to Kscope. The album is a collection of covers of "60s psychedelic chestnuts", a reinterpretation of mostly obscure 1960s psychedelia, intended by Ulver as a reflection on lost innocence. In a Kscope video interview, Kristoffer Rygg commented, "I grew up with parents who were still listening to music from the time, so it informed my childhood, and it has become an ever increasing geeky sort of fetish since then", adding, "[M]y feeling is that most people's knowledge sort of limits itself to The Doors. The Doors were cool, but there was so much else going on… in the underground, records that got lost and didn't get as much recognition as they deserved in my opinion. We wish to be ambassadors for things that we love and we sort of hope that we can open some gates with the record." The album includes versions of songs by The Pretty Things, The Byrds, Bonniwell's Music Machine, We the People, Jefferson Airplane, Gandalf, The Electric Prunes, The 13th Floor Elevators, The Troggs, The Left Banke, The Beau Brummels, Common People, Music Emporium, Curt Boettcher, The Fleur de Lys, and The United States of America. The cover features a photograph by Hoang Van Danh of Phan Thi Kim Phuc fleeing a napalm attack by the Republic of Vietnam Air Force in 1972. A music video for "Magic Hollow", directed by Justin Oakey, was released in April 2012. Background Frontman Kristoffer Rygg explained that Childhood's End was "one of those projects I'd been meaning to do for some time. In my 20s I found myself coming up short with new things to like. It wasn't until the late '90s when I discovered a true fascination with psychedelic music, and even prog. That was when '60s and '70s music really took hold, and I've been more and more into it ever since. I listen to a lot more stuff from that era than I do modern music." Rygg spent considerable time "digging around" to find the right songs to cover and explained that "[t]here's a missionary aspect to all this