
I am fascinated by the world of underground music, where passion and independence are paramount. In this realm, labels like Cruel Nature play a crucial role. Founded in 2013 by Steve Strode, the label has been promoting artists from around the globe for over a decade, blending diverse musical genres—from drone to noise rock and everything in between—in a DIY spirit. This ethos of independence and creativity attracts both artists and listeners seeking more than just mainstream hits.
In the following interview, Steve discusses the origins of Cruel Nature, the inspiration behind the label’s name, and why he chose to focus on cassettes as the primary medium for his music. He also shares his experiences running the label, which has operated for more than 10 years on the principle of “no boundaries”—free from geographical, genre, or stylistic constraints.
For me, this approach is truly inspiring. It demonstrates that music is not just a business but, above all, a passion, freedom, and the ability to express oneself without compromise. Steve and his label are living proof that you can follow your own path, stay true to your values, and still create something of real value.
Artur Mieczkowski
Artur Mieczkowski: What inspired you to start the Cruel Nature label in 2013? How did you come up with the idea for such a name?
Steve Strode: On and off, I’ve spent over 30 years immersed in underground music, always embracing a DIY ethos — playing in bands and self-releasing my music. I gained experience co-running a label in the early 2000s and collaborating with micro-labels like Haunted Trail. This journey, combined with the vast global online community of artists and labels, eventually led to the evolution of Cruel Nature.
Regarding the name, there wasn’t an extensive short-listing process. The rural surroundings where I live inspired me, reflecting the notion that nature can be both breathtakingly beautiful and relentlessly harsh. This duality resonates with the essence of many of the albums that have been released.
A.M.: Why did you choose to specialize in cassette and digital releases?
S.S.: From the very beginning, the label was established with cassette as its format of choice. Cassettes are what I grew up with—making tapes of tracks recorded off the radio, band demos, and my own sonic experiments, all captured straight to tape. Recording gigs and running a tape distro. Before CD-Rs and downloads, cassette was the go-to physical format for people to share their sounds without the hefty investment in vinyl. And in many ways, it still is. You buy one at a gig; it slips nicely into your pocket. They’re portable. Cassettes are DIY. Cassettes are punk.
From my previous experience running a label, I learned about the financial constraints of focusing mainly on vinyl. With Cruel Nature, the aim is to provide a platform for new artists, regardless of geography or genre. Vinyl’s limitations make it difficult to fulfill this mission with such an eclectic catalog. Cassettes offer me more freedom to take risks with the sounds I’m publishing, while still providing the warm analogue feel of vinyl, along with creative packaging—making them a perfect artistic medium.
For the first three years, the label was entirely DIY. All cassette releases were home-produced. I transitioned to professional production due to time constraints and a desire to improve release quality, along with offering better art and packaging options for the artists.
I’m not an analogue purist, though. Like many, even though I buy a lot of music on physical formats, I also listen to a lot of it digitally. Digital formats are essential for promotion. Issuing download codes is much easier than sending physical copies, especially with super-limited numbers. Allowing streaming also helps give greater exposure to the artists, which is the overall aim.
A.M.: You have already released over 350 albums. How do you manage to sustain such an impressive release pace, producing up to 6 albums per month?
S.S.: With an efficient process, a strong work ethic, and limited sleep (haha!), it’s taken over 10 years to reach this point, through much trial and error. Receiving so many good sounds, it wouldn’t be right to sit on them. Good organisation and time management are crucial, especially since this isn’t my full-time job. I manage the label in my spare time, outside of a demanding day job, supporting a family, and other life commitments. Running the label is on the periphery. If you’re passionate about something, you’ll make it work.
Since 2020, the label has been my sole venture. Before that, I used to play in bands, put on gigs, go on tours, and run the label. It all became too much to sustain, so I dropped everything else, and the label became my only focus.
A.M.: What is your process for selecting artists to work with? Do you actively look for new talent, or do artists approach you directly?
S.S.: When the label first started, I would actively seek out artists. In recent years, it has shifted more towards artists approaching me directly. I’ve always maintained an open submission policy, which means I receive a lot of submissions. I try to listen to them all, even if it takes some time. If I like what I hear, I’ll reply back.
A.M.: Your catalog features both emerging artists and renowned names like Aidan Baker. How do you balance promoting newcomers with collaborating with well-established artists?
S.S.: Everyone is treated equally, whether they’re established or new. The approach remains the same. Artists I’ve worked with previously understand my process, which can help accelerate release timelines. However, the label has always been about promoting new artists and sounds. I strive to maintain a good balance, hoping that having established artists on the label will encourage supporters to explore the newcomers as well.
A.M.: Your label focuses on a variety of genres, from drone to noise-rock and beyond. Is there a common denominator that connects all your releases?
S.S.: If I like it, I’ll release it. My personal music taste isn’t confined to any specific genre, and that diversity is mirrored in the label. While most releases lean towards the non-mainstream, I’m not opposed to releasing something considered ‘pop.’ However, whether Cruel Nature is the right label for such a release is another matter. I’ve received some albums that I absolutely loved but had to turn down because I didn’t think I could provide them with the exposure they truly deserved.
A.M.: What was the most challenging moment in the label’s history, and how did you handle it?
S.S.: As a UK-based label, the fallout from the UK’s withdrawal from the European Union (Brexit) in 2020 had a significant impact. The rise in shipping costs and the prospect of additional hidden customs charges led to a massive slump in EU support, which took a long time to recover. While it hasn’t quite returned to pre-Brexit levels, there has been some improvement, although how long this will last remains uncertain. Time will tell if the recent introduction of the General Product Safety Regulation (GPSR) will have any impact.
A.M.: Are there any specific releases or artists in your catalog that you feel especially proud of?
S.S.: One of the highlights was getting the very first release, At The Heart Of It All’s Cotard EP, out and launching the label. After all the preparation, seeing how it was received marked the beginning of future releases and journey to the label’s current status.
Releasing the first FRAG tape for Stephen Burroughs was another significant moment. I knew Stephen from Head of David, a band I greatly admired—I had their Psychedelic Killer poster on my bedroom wall as a teenager. LP, released by Blast First, is one of my favorite albums. Following the band’s demise in the early ’90s, Stephen chose to leave the music business and pursue a lifestyle in Buddhism. However, the urge to create sound remained, and he made some recordings as FRAG in 1994. These recordings were never meant to be seen or heard, until Stephen decided to make them public via Cruel Nature in 2018. He has since stated that releasing that tape was a pivotal move for him, and he continues to record as FRAG.
Being introduced to Russia’s Mirrored Lips and releasing their album MOM in 2016 was also a milestone. This led to organising and accompanying them on UK tours in 2017 and 2018, which included recording their subsequent albums at the Sound Rooms in Gateshead (UK). Aside from building lasting friendships, this experience defined the label’s mission of providing a platform for new artists, regardless of location or genre.
Celebrating the label’s 10th birthday in April 2023, with the release of the double-tape compilation album Spectrum, which generated £1000 for the neurodiversity support charity, The Toby Henderson Trust, was a proud personal achievement.
Through Cruel Nature, I’ve also had the privilege of being introduced to and working with amazing artists such as Alan Davidson (Kitchen Cynics), Gvantsa Narim, Pound Land, Aidan Baker, Avi C. Engel, Whirling Hall Of Knives, Deep Fade, David Colohan, and Dragged Up.
A.M.: What is your perspective on the future of physical media, like cassettes, in the era of digital streaming?
S.S.: Much like the “Home Taping Is Killing Music” warnings from the 1980s, while digital streaming has had an impact, it’s certainly not killing physical formats. If anything, there’s been a resurgence in vinyl and cassettes. When I started Cruel Nature, cassettes were on the rise, and many more cassette labels have been founded since. Interest in Cruel Nature is largely driven by the physical formats. The number of digital downloads is tiny compared to the amount of cassettes consumed, but as mentioned before, downloads and streaming are provided to cater to all listening preferences. And it’s much better to financially support an artist through buying their physical merchandise than streaming.
A.M.: Cruel Nature operates as a DIY label. What challenges does this approach present, and what opportunities does it offer you?
S.S.: Getting exposure and growing the label has been a challenge. Pushing publicity and gaining promotion can be particularly soul-destroying, especially as the label is a one-person operation with limited time. Aside from occasional help with art and design, everything else—producing tapes, promo, processing orders, listening to submissions—is on me. There’s no PR agency, distribution company, or funding support. The label is massively reliant on, and thankful for, the support from followers, blogs, zines, radio, artists, and other labels.
A strict principle when the label was established was that it would be not-for-profit and self-sufficient. So, aside from personally investing to get the first few releases out, the existence of the label and the ability to publish music is dependent on release sales. The benefit of having sole control over the label is that I can adjust the number of releases, change the schedule, or take a break, depending on the challenges or opportunities that arise.
A.M.: Is there an artist or band you dream of working with, but haven’t had the chance yet?
S.S.: Not really. It would be great to work on another United Bible Studies or Nadja album, and I always welcome new material from artists already on the roster. I occasionally ask Stephen Burroughs if there’s any unreleased Head Of David material lying around, but the steady stream of submissions and an ever-growing release schedule keep me busy. There are always new gems to discover.
A.M.: How are your releases received in different parts of the world? Do you notice differences in interest depending on the region?
S.S.: Unsurprisingly, the majority of support comes from the UK, US, and Europe, with no discernible difference in genre interest based on location. Beyond that, there’s support in Japan, China, Taiwan, Russia, Australia, Mexico, Peru, and more. This aligns with the label’s ‘no boundaries’ ethos, releasing music from global artists.
A.M.: Do you have any advice for people who want to start their own music label, especially in niche genres?
S.S.: It takes passion and perseverance. Be ambitious but realistic. Stay true to yourself and your goals. If your primary motivation is making lots of money, this may not be the right choice. Set realistic expectations, as it can take time to gain momentum and establish a presence. Feel free to contact me if you need any guidance or help based on my own experience. Go for it!
A.M.: What are your plans for the future? Are you thinking about expanding your label, such as organizing concerts or releasing in other formats?
S.S.: For now, the plan is to continue as we are. Based on how the release schedule is growing, this year looks to be another busy one. Although primarily a cassette label, I have released very limited vinyl editions alongside cassettes for some albums, but only for specific releases. It’s not something that will become standard. As mentioned before, I used to organise and promote concerts alongside the label but took a step back from that. However, I will occasionally come out of retirement for special shows, such as the Pound Land / Dragged Up Newcastle 2023 gig and the upcoming Cruel Nature co-hosted event (with Endless Window) featuring Aidan Baker, A-Sun Amissa, and Sulk Rooms at The Cumberland Arms, Newcastle, on 6 April 2025.
A.M.: Thank you very much for the interview. I wish you the best of luck with your plans.
S.S.: It’s been a pleasure. Thank you for the opportunity and all the support you’ve given the label.
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