This is massive. Primitive Ignorant is Sym Gharial of The Eighties Matchbox B-Line Disaster, & we’re proud to announce that his latest release “Sikh Punk” is the next instalment of our exclusive C60 Club! The album, a raw slab of ferocious punk-pop that features cameos from the likes of Mick Jones of The Clash, Joe Talbot of IDLES & our very own Daisy Coburn to name a few.The cassette will be available on an extremely limited dark-red cassette in April (with pre-orders available from 26/03). Big thanks to Sym & Something In Construction for this one - we couldn’t be more thrilled to welcome you to the club. Keep a look out for more info soon good people.
As part of the C60 Club, we here at austerity will be catching up with some of our favourite artists of the underground music scene. This month, we’ve talked in-depth to Liam Goodrum-Bell - the vision & force behind our newest family additions Tape Runs Out…
Hello Liam, & welcome to both austerity records & the C60 Club.
L: Lovely to be here!
Tape Runs Out has been a long-running project, originally being formed in Cambridge almost 10 years ago. Please take us through the band’s journey so far & what led you towards joining the AUS family late last year.
Tape Runs Out started as an electronic solo project back in 2012. I posted a couple of songs onto Soundcloud & got a good response, so a friend suggested I form a band to perform them live. Our first EP, “Covered in Tape”, was composed of some of those early electronic songs reworked with a band line-up, & was recorded at the university that I was studying in at the time. We caught the attention of a label called Ear to Ear Records who released “Friends” as a single. We actually recorded a full album for them, but the label broke up before it was released.
At this point university ended & different lives began, so I found myself with a new line-up (including current members Ellie & Rich, amongst others). In this formation we made the “Knife” EP, which had more of an electro-pop feel than our shoegaze-styled first EP. After that, & with Clare joining on violin, came “Go To Sleep”, which contained elements of freak-folk & experimental music.
By the end of 2019 we had welcomed Dan, Takeshi & Taylor & signed with local Cambridge label Kuang Grade Recordings. We released two indie-rock focused EP’s with them – “Talking Through The Walls” (2019) & “Sleepwalking into a Fire” (2020) before the label took an indefinite hiatus due to the COVID-19 outbreak.
The “Ghost Fruit” EP was then recorded during the summer of 2020, & as it was nearing completion I reached out to austerity to see if they liked it enough to put it out. Evidently they did, as they offered us a digital release & a cassette release as part of the C60 Club.
The TRO sound, with its unique mix of shoegaze, post-rock & lo-fi indie pop, was once described by notable producer Marc Joy as “a perfect introduction to new & unseen places in the sonic universe.” What goes into creating such an impressive amalgamation of sounds?
I usually do a lot of experimenting with various sounds for each song, & often switch parts or move things around until they’re in the right place. I tend to see it as a combination of shapes & colours as much as sounds, & I work on it until it looks like it all fits together.
As noted before, the band already has a strong body of work behind it. With the “Ghost Fruit” EP, though, it feels like we are privy to the sound of a band that has truly found their stride. Take us through the EP & the creative process behind it.
“Ghost Fruit” actually started life as a potential solo album in which I decided to finally work on a bunch of songs I’d never completed but felt had potential. It was something to work on during the first lockdown in spring when we couldn’t get together as a band to compose new things, as had been the plan. I got as far as having around 18 songs in the shortlist, before changing my mind & deciding to rework some of them for TRO instead.
We used recordings we’d made previously & had members send me recordings, which I then pieced together & covered in indulgent synths & noises. The resulting tracks are therefore particularly varied in style & sound, having come from ideas written at various times of my life, but tied together by being worked on & completed in tandem. As a seven-piece it has been impossible for us to meet for the last year, so we look forward to finding out how performable the songs are!
“Hospital”, the lead single from the new EP, was released at the start of the year & is one of the most beautiful things. The video, a stunning collection of nature, scientific footage & time-lapses, is also magnificent. How did this track & its video come about?
It’s definitely one of the simpler compositions I’ve done. The first draft actually had a lot more going on, but I decided to cut back most of the layers on the verses to give the bridge section more impact. It felt like a stand-out piece on the EP in terms of melody & likeability &, even though it’s not the most upbeat song, we thought that it felt appropriate for the time.
A stock-footage based video was one of the limited options we had in lockdown, so I found some footage that I felt captured the mood. The grinding cogs of nature are a theme for some of the lyrics, along with trying to come to terms with being simply a part of it all, & I liked how pairing it with emotionally disconnected science footage seemed to heighten that feeling. Reversing the bulk of the footage made for some interestingly abstract visuals, and I was able to piece together a video that, to me at least, was suggestive of the themes I was trying to express.
Geographically, your hometown of Cambridge is pretty far from the AUS base in Brighton. However, it has connections to such legendary acts as Pink Floyd & Sisters of Mercy. Considering its rich history, what is the music scene like today in Cambridgeshire?
Well today it’s very quiet, but in general it’s reasonably active! Cambridge is inherently a slightly divided city, with many dedicated University areas inaccessible to other residents. There are definitely ’scenes’ within the city, as with any place, & once you’ve found your group you have a much better chance at finding opportunities.
One of the things we lack is more medium-level venues. There are a handful of very decent pubs to perform in that have dedicated rooms for performers (The Blue Moon & The Portland Arms are two very notable examples, & are our favourite Cambridge venues to perform in), but other than that it’s mostly places that are either too small, such as cafes or smaller, stage-less pubs, and one of the few larger venues that cater mostly to touring acts. There is no shortage of talented, creative songwriters & musicians here, which makes it all the more frustrating to have to rely on the same few venues, regardless of how lovely the venues are. The reality is, to be an active band based in Cambridge, you’ll find yourself convoying down to London reasonably often.
There is, however, a strong local radio presence with very supportive hosts on Cam FM, Cambridge 105 & the local BBC Introducing station in particular. They do a great job of helping to provide a sense of community amongst the musicians here, which is essential to any local scene.
With the Government’s recent roadmap out of the COVID-19 lockdown promising a much brighter future for the music & events industry, what do you see laying ahead for Tape Runs Out? 2021 seems like it could be a big year for up-and-coming artists such as yourselves.
It’s difficult to tell what the near-future brings, especially with the changes caused by Brexit regarding working & travelling abroad. Together with the uncertainty facing many local venues, it’s looking like there may be a stronger focus on single releases and maintaining a social media presence with extra visual content than the traditional method of releasing albums/EP’s & touring, which could be beneficial to physically larger bands like ourselves who find it hard to tour.
We have not escaped the mental health challenges of the pandemic, but hopefully we’ll be able to find a way to adapt to whatever new reality we find ourselves in!
Tape Runs Out’s “Ghost Fruit” EP (AUS-C04) is now SOLD OUT. Click here to listen on SPOTIFY
Happy release day to our most recent family additions, Tape Runs Out. The “Ghost Fruit” EP is a fine piece of sonic art & we’re so happy that it’s finally making it’s way out to you all. Of course, the limited-edition C60 cassettes have completely sold out (physicals have been shipped, digital items will be mailed out today), but you can still stream/buy on Spotify, ITunes, TIDAL etc. Do it now, it’ll change your life.
This one goes out to all you hopeless romantics out there. Cupid herself Daisy Coburn has just dropped a big Valentines gift for you all! A VHS movie performance of Daisy’s spectacular “No Love” EP, mixed with an intimate & candid interview, sincere and sublime - we love Daisy!. Big thank you to the brilliant Natalie Kerr for this one.
In possibly the most 2021 news yet, we’ve unfortunately had to reschedule the Pete Fij & Terry Bickers, Winter Gardens & Zooni show at The De La Warr once again. Providing the UK successfully exits lockdown when planned, this show will now take place on Saturday 17th April. All tickets remain valid (please see dlwp.com for all terms & conditions). Thanks for your understanding & for bearing with us, & thank you to the DLWP, Musics Not Dead & the bands for helping in the rearrangement. We’re in hard times at the moment, but hopefully this gig will help us forget it all for at least an evening. Thank you! x
It’s a new year, & the AUS Family will be kicking it off with a melancholic masterpiece. Introducing “Ghost Fruit”, the new EP by the transcendental Tape Runs Out & the first C60 release of ‘21. Available to pre-order on a beautiful petrol-blue cassette HERE, this 8-track sonic journey has already picked up plays & reviews from the likes of BBC Introducing & Backseat Mafia - that’s how good it is. The music video for the haunting lead single “Hospital” is also streaming now over on Youtube HERE. As always, C60 items are strictly limited to 25 pieces, so move now or regret it forever.
The single is entitled 'Hospital' - A song written during the hot summer of lockdown that echoes the contemporary feeling of powerlessness in the face of nature.
We love a good “Best Of” list. So, following up from that man Gazzys’ quality countdown a few days ago, we have another list of inspiring new music that made 2020 just that bit more bearable for Team AUS.
Next up with his choices is Jim, the alpha & omega of @austerityrecords...
Jim’s Top 10 Records of 2020 (in no particular order!)
Live music pretty much came to a screeching halt over this past year, but we were lucky enough that fresh new studio sounds still made their way out into the world. Over the next couple of days, we will be sharing a list of what made austerity tick in 2020, & pretty much kept us sane during the madness.
First up is Big Gaz himself, the godfather of AUS...
Ignore Christmas, the biggest day of the year is here already. “No Love”, the captivating debut EP from Daisy Coburn is now available to stream & buy on all good platforms, including Spotify, Apple Music & TIDAL. Four songs of brooding attitude & pure pop genius. We would also suggest picking up a limited cassette from the webstore, but you can’t because they’ve all SOLD OUT (digital items will be sent out to existing customers today)
As part of the C60 Club, we here at austerity will be catching up with some of our favourite artists of the underground music scene. This month, we’ve spoken to recent AUS signing & someone we’re quickly running out of superlatives to adequately describe - the one & only Daisy May Coburn…
Hello Daisy, & welcome to the C60 Club (& austerity records!)
D: Thank you greatly!
As an artist that has performed in various musical capacities over the years, your journey towards joining austerity has been a long & interesting one. How does it feel to finally release your long-awaited solo material into the world?
It feels amazing. I feel blessed to have met such a wicked little team. Alongside the austerity crew, recently meeting Nick (Nicholas De Carlo - who mixed my tracks) through Johnny Goddard (who made my video), a very cool & solid little line-up has evolved - pushing the project in the right direction. It’s awesome! So in that respect, it feels like it was meant to be & I can’t wait to see what 2021 brings.
With the blend of pop, swing & elements of psych, your sound is one of the most unique out there. What inspires such an individual sound?
I suppose it reflects the years I’ve been playing music & the material I have made & listened to in that time. I adore swing & jazz from the 30s, but I also absolutely love 60s & 70s psych etc.The pop sensibility definitely comes from my Dad - he’s a bit of a pop tart (all the good 80s stuff, of course).
The “No Love” EP is a very personal & inward-reflecting collection of songs. The lyrics,especially on lead single “Fire”, hint at the idea of letting go & moving on. Do you see this release as a fresh start of sorts?
Absolutely! It’s an act of liberation & self-love. Having the confidence to stand behind your vision takes time & valuing your self-worth. We don’t always get taught this when we aregrowing up. You kind of have to figure out that when you respect yourself, you have the ability to function & communicate your essence relatively pain-free! Tortured artistry is a thing of the past (for me, anyway). It doesn’t have to hurt to be real.
The video for “Fire”, which premiered on Backseat Mafia last month, is incredible. The image of yourself alone with your guitar while the world is burning around you is extremely striking.Take us through the inspiration for the video & how it came to be.
Thank you! I guess it boiled down to what could be achieved in a small space & quickly without doing an awkward, run-of-the-mill performance video. Johnny Goddard of Youth Hymns did the heavy lifting on this one for sure - hours of editing green screen to make such a magical atmosphere. I only saw the video the day before it came out - it really was a process of trust & I knew he would deliver something great because I love his work. He’s very good at what he does!
In a bit of foreshadowing, you played a live set at the austerity launch party in Hastings two years ago. With the promise of a more normal 2021 just around the corner, are you looking forward to getting back in front of an audience?
This would be wonderful. I played one live show the week before lockdown with my band & there was so much to take & learn from it, it was a real shame that exploration was cut short. But in that time I’ve been able to put this EP out - which wasn’t on the agenda before lockdown - so I am grateful for it, & I feel like having done so has solidified the identity of the project, which may be easier to navigate live when we are able to get back out there.
Following on from “No Love”, what lies ahead for Daisy Coburn? The future looks very promising indeed.
I feel like I’ve broken the ice & have a great team behind me to continue building the DNA of this project. I would love to release a string of singles next year & maybe another EP in the autumn. But playing shows would be essential in promoting the releases this time around - the timeline may be dictated by this - but I will be preparing the music & visuals in order for this to come to fruition. Busy hopefully!
Daisy Coburn’s “No Love” EP (AUS-C03) is now SOLD OUT. Click HERE to listen on Spotify.
Even in uncertain times, we keep moving forward. As such, please join us in welcoming the Cambridge post-rock seven-piece Tape Runs Out to the austerity family! Described as “spectral, shoegazey & magical” by Fierce Panda, Tape Runs Out are one of the most stunning bands we’ve had the pleasure of discovering &, believe us, their new music is absolutely beautiful. Look out for an exclusive live session coming very soon, but for now please welcome Liam & the crew to aus.
