Electronic Music Record Labels Codexery

Biohazzard Records

German indie label opposing DRM, using BitTorrent since 2007.

Biohazzard Records

Biohazard Records is a German independent record label founded by music journalist Sascha Bahn and Alexander C.H. Lorenz. It is not a sublabel of Danse Macabre Records, though it has distribution deals with Danse Macabre. The label is known for its opposition to restrictive digital rights management (DRM), distributing all material without DRM, and since late 2007 has used BitTorrent to distribute promotional MP3 songs.

Founded
2000
Field
Independent record label
Nationality
German
Known for
Opposing DRM, using BitTorrent for promotion, independent label with distribution via Danse Macabre
Distribution
AL!VE and Kontor Media (digital)

Lore & Background

Biohazard Records was established by music journalist Sascha Bahn and Alexander C.H. Lorenz as an independent label, not a sublabel of Danse Macabre Records. Its releases span from 2000 onward, including works by artists such as Eisenfunk, Sinnflut, Concrete/Rage, and Noctiferia. The label's early output includes Sinnflut's 'Vergessene Melodien' (2000) and 'Wortlosigkeit' (2001). Note: The album 'The p/o/u/r letters' (2003) is not a Biohazard Records release; it was issued by other labels.

Reader's Guide

Biohazzard Records holds significance as a German independent label that actively opposed DRM and embraced BitTorrent for promotional distribution as early as 2007, a stance that aligned with broader digital rights movements. As a sublabel of Danse Macabre Records, it contributed to the gothic and electronic music scenes with releases from artists like Eisenfunk and Sinnflut. Its legacy includes a catalog of albums and EPs from 2000 to 2008, such as 'Eisenfunk' (2007) and 'Agapèsis - Sacrilege' (2008). The label's distribution through AL!VE and Kontor Media ensured physical and digital reach, while its DRM-free policy set it apart in an era of increasing digital restrictions. Though its activity appears to have slowed after 2008, its early adoption of BitTorrent for promotion and its anti-DRM ethos remain notable in independent music history.

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