January Sale! 1 January 2022

Beat those January blues with the massive New Year sale now! Including Cassettes from £3.50!

2021 Top Ten - Jim 29 December 2021

There’s been some cracking ‘Best of 2021’ lists kicking about the music blogs & social media over the last week or so. Following on from our @garry.saunders’ list a few days ago, it’s time for us to post one more!

Next up with his choices is Jim, the mad scientist behind @austerityrecords...

Jim’s Top 10 Records of 2021 (in no particular order!)

Dave Okumo - Knopperz

Jane Weaver - Flock

Sloppy Jane - Madison

Sault - Nine

Voces8 - Infinity

Audiobooks - Astro Tough

Molly Lewis - The Forgotten Edge

Arlos Parks - Collapsed In Sunbeams

Nation Of Language - A Way Forward

W.H Lung - Vanities

2021 Top Ten - Garry 28 December 2021

It’s been another weird year for music, but we certainly cannot fault the amount of outstanding new releases that managed to hit the airwaves in 2021. Between now & New Years, we will be sharing a few lists of what made austerity records HQ bang throughout the last year, & kept us motivated to do what we do.

First up is Garry, the thinking man’s yob behind AUS...

Garry’s Top 10 Records of 2021 (in no particular order!)

Beachy Head - Beachy Head

Black Country New Road - For The First Time

Black Midi - Cavalcade

Dry Cleaning - New Long Leg

Goat Girl - On All Fours

Mildred Maude - Sleepover

Mogwai - As The Love Continues

New Candys - VYVYD

Squid - Bright Green Field

W.H Lung - Vanities

Happy Holidays! 22 December 2021

Feliz Navidad! This is austerity records signing out for Christmas. It has been an unbelievable year for us, from signing new bands, multiple new releases to making priceless memories at such events as the first-ever AUS All-Dayer at The Piper our sold-out show at The De La Warr. Trust us, 2022 is going to be even bigger & better. Endless love to SNAYX, Daisy, Seadog, Winter Gardens, our C60Club artists & everyone who has shown us the support that makes it all worthwhile. Enjoy the holidays & look after each other out there. x

Xmas 101 Video 16 December 2021

The new World News “Xmas 101” video has officially landed on Youtube via VEVO! We’ve had this Christmas cracker on repeat for weeks already. Enjoy your early Xmas present below, courtesy of austerity records.

Happy Release Day World News! 10 December 2021

We literally cannot get enough of this track, this ticks all the Christmas boxes & punches with a real nostalgic feel, the video is pretty bloody smashing too.. watch this space...

Stream on Spotify HERE

Daisy Coburn - Ultrasound (Live in Brighton) 3 December 2021

We’ve just dropped a stunning live video of Daisy's “Ultrasound” over on the AUS YouTube Channel. Taken from the show with Peggy Sue in Brighton a week back, & beautifully shot by the talent that is Natalie Kerr.

World News 26 November 2021

We are incredibly excited to let you all know that we have been working with the phenomenal 'World News' on a very special release, coming very soon. In the meantime get the mistletoe & wine ready. WOO!

Happy Release Day Winter Gardens! 27 October 2021

Written & semi-produced within the first two weeks of the UK coronavirus lockdown. 2021 - What the fuck is going on - Uncertainty Kills Me.

The sonic identity of the track is a chaotic yet careful blend of juxtapositions. Drawing heavy inspiration from both the angular and articulate sound of 80’s production, fused together with the more relentless sensation of modern techno and big room house, the track arrives and pulls no punches, constantly underpinned by samba-inspired rhythms that you can’t help but want to dance to. Guitar and Synth lines dance around each other filling every conceivable moment of space with earworm hooks, only to subside for the intimate musings of Ananda’s hypnotic vocals.

Use Hearing Protection: The Early Years Of Factory Records, Manchester. 25 October 2021

Factory Records - the greatest record label to grace our culture, a label that thrived on intuition, passion and left a legacy that remains as important today as it did then. Sincere emotion flowed as I stood a foot away from Ian Curtis’ VOX Phantom, to admire every little blemish, mark and imperfection, absorbing the history and character of this iconic inanimate object.

An endless display of original Saville artwork, notes, invoices, test pressings, flyers & letters accompanied by an interactive feature allowing the listener to isolate & mix the separate recording tracks to “Love Will Tear Us Apart”…

An emotional rollercoaster to say the least - I can not recommend this exhibition enough.

Happy Release Day Seadog! 22 October 2021

Here we go! “Foolhardy”, the incredible new EP from Seadog (feat. cameos from the likes of Penelope Isles & Champion Fever), is now available to stream on all decent platforms across the digital world, including Spotify,Apple Music & Tidal. All pre-orders of the C60Club cassette were shipped to drop through letterboxes this morning (download codes have been mailed out too). If you missed the pre-order, the cassette is now on general sale HERE You better be quicker than a hiccup though, there’s only a handful left...

C60 in Conversation: Sloe Noon 14 October 2021

C60 in Conversation: Sloe Noon

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 spoke to Anna Olive – vocalist, guitarist & one half of the first international inductees to our cassette series, Sloe Noon…

Greetings Sloe Noon, & welcome to the C60 Club!

A: Greetings austerity records & thank you for having us!

Having only formed in the early months of 2020, Sloe Noon is still a relatively new project. Take us through the origins of the band & how it came to be…

Well, I started Sloe Noon as a solo project in January 2020 after being fed up with procrastinating over making music for almost 10 years. I started writing songs at 13, but got a really bad case of artist block growing up. I always wanted to play in a band & that was also the reason I moved to England at 19. I always deluded myself by saying I needed to be in the “right” place with the “right” people to start, which I now know is bullshit. Not creating anything is absolutely worse than creating something mediocre or even bad. I had to really hit the bottom before I finally got over myself & wrote songs again. When Dennis [guitar] & I decided we wanted to record a “lockdown EP” - which became “Embassy Court” - I realized I could no longer take credit for all the work done on my music, so we decided to make it a band during that process.

As a two-piece, yourself & Dennis are now fully based in your hometown of Kiel, Germany after living in Brighton up until the beginning of the COVID-19 crisis. How did the transition of moving home go, & what is the scene like over Western Europe?

To be honest, it’s been quite weird. As for most people, Covid really messed up all of our plans. Dennis was going to move to England & we were both going to be students, but then everything went crazy with the virus & I had to decide, pack, rent out my room & flee the country within two weeks so I could spend lockdown with my family. I had no time to process anything, but I guess it all turned out well in the end. I’ve had a lot of time to heal & reflect over the last year & I don’t think “Embassy Court” would exist now if I hadn’t left. It also turned out we weren’t eligible for tuition fee loans, so we couldn’t have studied anyways, which is why we just recently moved to Dortmund!

The scene here is quite different from the UK. There was a reason why I wanted to live in Brighton. Mid-sized towns like Kiel & Dortmund don’t have a lot of young indie music to show & Germany is lacking opportunities for small bands such as BBC Introducing etc. It’s all very much a bubble – it’s about knowing the right people & being radio friendly. I’d say the scene is quite small, but supportive & I have hope for growth… but honestly we haven’t even started playing proper shows yet, so I guess we are bound to find out more next year when we finally have a live band.

Speaking of Brighton, the “Embassy Court” EP is an ode to the area of the city that you called home during the first lockdown & subsequently the recording of this record. How much of an impact did your surroundings & the strange scenarios of a pandemic have on your song-writing?

All of the songs on “Embassy Court” were actually written pre-pandemic, so I can’t say that it really influenced the writing that much. They were the first songs I had written in years, with ‘Planestation’ being the breakthrough from my artists’ block. I remember we were in Dennis’ rehearsal room in Kiel, as we were in a long-distance relationship then, & I was determined to finally write a song again & not leave without one. I only had three chords to begin with, but it worked. I finished it back home in Brighton & we made a demo the next time I was in Kiel. I knew I was finally out of whatever was stopping me, & it all came pouring out. When I left, recording it really became an attempt to find closure with that chapter & I think it worked… whatever closure means.

While mainly emitting upbeat & feel-good vibes, the EP contains some very emotional & deeply personal lyrics (in particular, the “I’m so good at making myself sad” lines from “https://home”). How important is it to you to speak from the heart like that?

I don’t know if it’s particularly important to me, but it’s just what came out. My lyrics so far are always a caricature of a certain emotion or phase. I’m hyper-sensitive, so I’ve got a lot of those. The songs I’ve written so far for this EP & the next were definitely more self-therapy than anything else, but I can see myself writing more abstract or fictional storytelling lyrics in the future as well. I feel a lot calmer & more collected than I did & can focus more on the craft, which will be fun to explore, but we will see. I guess as our personalities change & develop, so does our art & that’s why “finding your voice” is such a harmful thing to try & do. Your voice is whatever comes out at one moment in time, is completely random & influenced by a million factors out of your control.

As well as joining the AUS C60 Club with “Embassy Court”, you recently teamed up with Manchester vinyl label Box Bedroom Rebels to release a special 7" of the EP. What has been the response to your music finally being available on physical formats?

Really great! When we started recording, our plan was to do a Bandcamp release only, but I’m so glad we put all the effort into spreading it & got these amazing opportunities like the C60 Club. Uploading your songs to the internet can feel a bit like screaming at a wall & making it physical lets it feel a bit more like leaving something real behind. & as we all know, plastic takes a long time to break down, haha!

You have been back in the studio recently working on a follow-up to the EP, & some of the clips we’ve seen of the new material sounds absolutely stunning. When can we expect new music & what’s next for Sloe Noon?

We’re working very hard, but it’s taking a long time to do it all ourselves. We’ve just moved towns and are starting University, so it will probably be a little while longer. At the moment our focus absolutely lies on finding a drummer & bassist, making a banging live show & playing all of the venues that we can reach. Next year will be the real birth year of Sloe Noon.

Sloe Noon’s “Embassy Court” EP (AUS-C07) is now SOLD OUT. Click HERE to listen on SPOTIFY.