"British RE/Search"
20kbps Records Labelography 2002-2021
"20kbps is an online label specializing in lo-fi underground noise, ambient, breakbeats, techno,
and much more, all specifically encoded at 20kbps, instead of at normal higher bitrates."
331 Releases / 1+ Gigs...
Maurizio Bianchi & Land Use - "Psychoneurose" CD 2005
Maurizio Bianchi (born 4 December 1955) is an Italian pioneer of industrial music, originating from Milan. Bianchi was inspired by the music of Tangerine Dream, Conrad Schnitzler and Throbbing Gristle. He wrote about music for Italian magazines before beginning to release his own cassettes under the name of Sacher-Pelz in August 1979. He released four cassettes as Sacher-Pelz before switching to his own name or simply "MB" in 1980. Bianchi corresponded with many of the key players in the industrial music and noise music scenes including Merzbow, GX Jupitter-Larsen, SPK, Nigel Ayers of Nocturnal Emissions and William Bennett of Whitehouse. After this exchange of letters and music, his first LPs were released in 1981. Symphony For A Genocide was released on Nigel Ayers' Sterile Records label after Bianchi had sent Ayers the money to press it. Each track on the LP was named after a Nazi extermination camp. The cover featured photographs of the Auschwitz Orchestra, a group of concentration camp prisoners who were forced to play classical music as people were herded into the gas chambers. The back cover included the text "The moral of this work: the past punishment is the inevitable blindness of the present".
Also in 1981 William Bennett offered Bianchi a record contract which Bianchi signed unchecked. It was based on a "joke contract" that Steven Stapleton of Nurse With Wound had sketched. The contract assumed all rights to Bianchi's work. After delivery of the tapes Bennett edited-in speeches by Nazi leaders, and instead of the relatively unsensational name MB, it was published under the alias Leibstandarte SS MB, named after the SS unit that worked as bodyguards to Adolf Hitler. By 1983 Bianchi had become a Jehovah's Witness. At the end of 1983 he announced his withdrawal from music, stating "The end is very near, and we have a very short time to recognise our mistakes and to redeem ourselves...I stopped doing music, and now my life is going towards its full awareness".
In 1998, encouraged by Alga Marghen label head Emanuele Carcano, who offered him a label of his own, Maurizio Bianchi resumed making music. The label was EEs'T Records, through which he released new editions of old MB albums and many new recordings. Bianchi then proceeded to work on over a hundred new projects both solo or in collaboration with other Italian and international artists including Atrax Morgue, Aube, Francisco López, Mauthausen Orchestra, Merzbow, Ryan Martin and Philip Julian/Cheapmachines. He has worked with labels Dais Records, the Carrboro, Hot Releases, and the Italian Menstrual Recordings to re-release some of his out-of-print material. On August 19, 2009, for unspecified personal reasons, Bianchi decided again to completely stop making music. This decision was soon after reversed.
Nazi UFO Commander - "Strange Monasteries" CDR 2006 & "Radiant Entropie" CD 2008
"Strange Monasteries is the initial communication to the fractured hive mind extant on this planet. This is Stage 1: Putrefaction. Only a small percentage of the population is capable of being hardlinked into the Greater Vision and Voice, because only they have had the Eruption of the Unconscious into the Sphere of Consciousness. Transmitting from Neuschwabenland South, Nazi UFO Commander is conjuring out of the chaos of space, radio waves and electronics a catalyst that will reunify the dissociated conscious by re-encoding imprints through sustained and attentive listening. In order to affect this reunification, the recording must be listened to in its entirety. Radiant Entropie is the second and final transmission from Nazi UFO Commander, a last warning from beyond to the hive mind extant on this planet. Finally revealed and clarified: the secrets of Neuschwabenland, Aldebaran and 'the Reclamation', set to a martial ambience. Feast on the crumbs, as the Commander has embarked upon a journey from which He will not return until the rest of us have long passed on."
"In ufology, conspiracy theory, science fiction, and comic book stories, claims or stories have circulated linking UFOs to Nazi Germany. The German UFO theories describe supposedly successful attempts to develop advanced aircraft or spacecraft prior to and during World War II, and further assert the post-war survival of these craft in secret underground bases in Antarctica, South America, or the United States, along with their creators. Accounts appear as early as 1950, likely inspired by historical German development of specialized engines. Elements of these claims have been widely incorporated into various works of fictional and purportedly non-fictional media, including video games and documentaries, often mixed with more substantiated information."
"According to a 1979 interview, serial killer Richard Chase ('The Vampire of Sacramento') believed that Nazi UFOs had extorted him into committing murder under threat to his own life. Chase further claimed that prison officials in league with the Nazis were poisoning his food, and he asked to be provided a radar gun with which he could apprehend his enemies."
Lille Roger - "For Life" Tape 1985
'Lille Roger' was the second solo project of Roger Karmanik (after 'Bomb The Daynursery', and overlapping his time in 'Enhänta Bödlar'). The style was raw, mid-fi, pure-industrial and rhythmic noise. The final release, 'Undead', was also the very first for his Cold Meat Industry label.
Cycotic Youth - 1986 Demo
If you keister balloons of grey heroin for old men with tits, this is your soundtrack...
Muslimgauze - "Opaques" Cassette 1983, "Kabul" LP 1983, "Buddhist On Fire" LP 1984, "Hunting Out With An Aerial Eye" 12" 1984, "Blinded Horses" LP 1985, Live 3-20-1986, "Abu Nidal" LP 1987, "Hamas Arc" CD 1993, "Veiled Sisters" 2xCD 1993, "Lo-Fi India Abuse" CD 1999 (Mostly 320)
Muslimgauze was the main musical project of Bryn Jones (June 17 1961 - January 14 1999), a British ethnic-experimental musician who was influenced by the history of the Muslim world, often with an emphasis on the Israeli–Palestinian conflict. He was exceptionally prolific in his work, creating nearly 2000 original compositions on over 90 releases (and still counting). The name Muslimgauze is a play on the word muslin (a type of medical wrapping). He first started in 1982 as 'E.g Oblique Graph' on Kinematograph, his own imprint, and the independent co-op label 'Recloose Organisation'. Though constantly recording, he released his earliest albums just once per year (this was due to an extreme scarcity in his financial resources at the time). Eventually he made inroads with emerging labels Staalplaat, Soleilmoon, and Extreme Records. He signed to Extreme first in 1991, which helped fund professional studio time and gained him access to improved distribution. Jones soon became frustrated with Extreme's slow release schedule, and in 1993 also signed with Soleilmoon and Staalplaat (who were more than willing to take on his ever increasing output). Jones additionally worked with nearly any small label that approached him. A major drawback to this was gratuitous editing by the labelheads, and excuses for late or missing royalties. This lack of monetary compensation was a source of ongoing stress throughout his career. On 30th December 1998, Jones was rushed to hospital in Manchester with a rare fungal infection in his bloodstream, for which he had to be heavily sedated. His body eventually shut down, and he died on 14th January 1999. Since his death at the age of 37, his music under Muslimgauze has continued to be released. He often inundated labels and collaborators with music, and consequently they had to be selective of what was eventually put out. Many labels, still including Soleilmoon and Staalplaat, continue to publish unreleased albums as well as his demos, reworked tracks, and abandoned full-length tapes. Jones' posthumous discography is known for including many studio variations of nearly all his music.
Muslimgauze's music is often difficult to describe due to sheer volume, content diversity, and often unique singular stylings. However, it is possible to describe common features of his music as he tended to use many of the same strategies, modified from album to album, to give each release a distinct feel or concept. The music is often heavily electronic and strongly rhythmic, tempos vary from very fast to very slow (if not outright ambient) making frequent use of gradually changing structures or melodic motifs. Two overviews of his discography described his style as 'ambience that is not so far removed from the likes of Godflesh or Scorn' and 'blended atmosphere and vocal samples almost turn his work into a soundtrack for a nonexistent film'.
"I would never go to an occupied land, others shouldn't. Zionists living off Arab land and
water is not a tourist attraction. To have been in a place is not important. So you can't be
against apartheid unless you have been in South Africa? You cannot be against the Serbs
killing Muslims in Bosnia unless you have been there? I think not."
--Bryn Jones
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