NEW ALBUM “Until We’re Gone” available for pre-order!

Is it an ambient album? Electronica? Music for elevators, shopping malls or – sorry Brian Eno – airports? Boring frippery? Music to fall asleep? Any electronic music that does not fit in any drawer? A stroke of genius? Psychoactive music with more chord changes than in Bach’s most popular pieces?

It’s all that, depending on the listener.

In the past few years, Ingo Vogelmann has studied the influence of music on the human psyche, working with frequencies, chords and timbres and with hypnotists and “commissioned music” for therapists who have successfully treated clients with this music. A certain part of this material can be found in this album.

None of the songs claim to have a classical song structure, or even a conventional duration. They are extremely long, because that can serve a purpose if the listener allows themselves to get involved. Each song has constantly changing chord progressions, but they are always harmonious and often reminiscent of classical works by the great composers of yesteryear.

“Until We’re Gone” is not a work in which Ingo wants to prove technical finesse. There are other pieces for that. The focus of this album is on the composition and the ability of the music to put the listener in a special state.

This music picks up seekers who are willing to get involved in something new.

Preorder: December 6, 2019
Release date (Spotify, Apple Music, iTunes, TikTok, Google Play/YouTube, Amazon, Pandora, Deezer, Tidal, Napster, iHeartRadio, ClaroMusica, Saavn, Anghami, KKBox, MediaNet, Instagram/Facebook): December 18, 2019

I’ll be working with a new distribution partner, and what that means for you (as a fan)

First things first

In the next few days/weeks you might experience something unusual when you stream or download my music from the countless stores and streaming services out there. It could happen that my releases appear as double entries, and it’s possible that you recognize missing songs and changed song order of album releases.

Wut?

That’s all because of the transition between 2 distribution companies. I transfer all my music from one to another, and they do not work in sync. One is faster then the other — with taking down and upping content — which is only one reason why I change partners. I’m quite unhappy with my former distributor, and the new setting is also better for you, as a fan.

Not everything changes

All my releases on Bandcamp remain as they are, and all of them remain on a “pay what you want” basis, even if that means ZERO.

So?

That’s it. Nothing that should concern you at all, I just wanted to let you know, just in case something seems odd to you. I’m pretty confident that things are much better for you and me after the transition has been done.

Enjoy my music everywhere as always, everything will be accessible all the time. Thanks for your ongoing support!

I do not sell my own music anymore

I decided to offer all my music for which I own the copyrights* for free, now and in the future. “Free” means all music I have on my own label (L2 Music) can be downloaded for as low as zero (all currencies, smiles preferred) or for whatever amount you think is right, in the best possible quality! There are no hooks, eyelets or hidden conditions. There is just music.

You can either stream my music for free via Spotify or stream and/or download at Bandcamp.

Bandcamp

*Digital downloads, not physical products, of course. I have no influence on the price of my music that I have signed with other labels, hence I can not offer this for free. But all of my albums are on my own label, and most of my non-dance-music productions.

Of course, I will still do paid remixes (and receive royalties for those), and sign my music to other labels, mostly dance music productions. But music on my own label (my albums etc.) will be free from now on.

Why am I doing this?

It’s simple, really. There is no point in asking you to pay for the download of music files anymore when you can stream it for free already. Those who like to listen to music in top quality (the audiophiles among you), there are the free or pay-what-you-want downloads at Bandcamp.

Nevertheless, I would like to ask each one of you to support me by becoming my patron:

Become a Patron!

Thank you, no matter if you’re just a listener or paying subscriber/downloader. You’re all equally valuable to me.

Update on the album production

The album

I’ve done around 30 different mixes, tried like 10 different guitars, mixing the drum kit and making it sounding right has taken an incredible amount of time, I’ve tweaked the tiniest bits of sound to total exhaustion.

Should the grand piano have more mechanical noises… should the timpani have slightly more reverb… should the guitar have a delay or not, should I add the cello on top of the full orchestra, or an oboe? Should I widen the acoustic guitar or leave it as is? Is this chord harmonic enough for the one before? Is the Oberheim too loud? Should I use the Gibson EB0 or the Les Paul bass, finger or pick? Stratocaster or Telecaster? This or that cabinet, or none at all, what amp? Distortion or slight fuzz, tremolo?

The pains of creating an album…

Questions like that are bothering me all the time. And the production is so huge that my DAW crashes at least 3 times a day. Plus, anxiety, doubts… because “is it all worth it? Will they understand it?”. Sleepless nights. Then again: “fuck yeah!”. It all sounds absolutely heavenly, I get goosebumps all the time. And nothing is even mastered at all.

I have half of the album sounding as perfect as it gets, with the needed amount of imperfection to become perfect. I open parts of it again, again and again… stuff that I did a year ago that doesn’t sound right today, and may sound not right next week. You get the idea. 😉

No worries, it’s all good. It’s finished very soon. Once it’s done I have nothing to do with it anymore. Then it’s a product with a life of its own, and I will watch it learning to walk.

I will reply to all of your questions in a video that I’ll upload to Facebook and YouTube, very soon.

This Friday, Stand with Bandcamp in Support of Immigrants/Basic Human Values (by buying my music)!

And so all day this Friday, February 3rd (starting at 12:01am Pacific Time), for any purchase you make on Bandcamp, we will be donating 100% of our share of the proceeds to the American Civil Liberties Union, who are working tirelessly to combat these discriminatory and unconstitutional actions.

This means, when you buy my music at bandcamp on this Friday, 15% from what you pay will go to the American Civil Liberties Union

The American Civil Liberties Union is a non-profit organization whose stated mission is “to defend and preserve the individual rights and liberties guaranteed to every person in this country by the Constitution and laws of the United States.” Short: they were the ones that sued Donald Trump, and they deserve all our support. Plus, you get some great music.

Here’s something to get you started with, my latest album from 2014:

 

85% of what you pay for my music will go to me. Also not a bad thing, if you ask me. 😉 Thank you!

Source: This Friday, Stand with Bandcamp in Support of Immigrants/Basic Human Values « Bandcamp Daily

Interview mit Dieter Meier (YELLO)

Dieter Meier von Yello hat eines der klügsten Interviews gegeben, dass ich seit langem lesen konnte. Darunter Statements wie dieses:

Ja, es gibt Streamingportale wie Spotify. Da macht die Industrie auch wieder den Fehler, dass sie nicht transparent ist. Man weiß nicht, welches Geld woher kommt und wie es verteilt wird. Wenn du eine Million Mal gespielt wirst, verdienst du zehn Euro. Man weiß also nur eins: dass man im Grunde nichts bekommt. Es wird oft gesagt: Heute wird mit Live Geld verdient. Aber wenn du unterwegs bist als neue Band und 300 Leute sind im Publikum – und da hast du es schon ziemlich weit gebracht – dann rentiert sich das nicht. Dabei ist Streaming eigentlich ein wunderbares Medium und es wäre ganz einfach, die Einnahmen transparent zu verteilen. Es ist einfach ungerecht, mal abgesehen von der Geldverteilung: dass der Musiker nicht einmal weiß, was er überhaupt für einen Mehrwert schafft!

via 08.09.2014: Demokratisch heißt nicht gratis (neues-deutschland.de).

Ich bin auch auf Spotify vertreten, sowohl als Künstler — gleich 2 mal, als “Vogelmann” und “Ingo Vogelmann”, was ich selbst Schuld bin, übrigens — als auch als Label. Als Label werde ich meinem Distributor sagen, er möge dort nichts mehr veröffentlichen, weil ich Spotify für Verbrecher halte. Präziser: Betrüger und Diebe.

Sean McClellan

SeanDJPicWe are happy to welcome Sean McClellan to the L2 Music roster, and we have a wonderful EP lined up. Stay tuned!

In the meantime, make sure to check out Sean’s impressive history on Beatport and his SoundCloud!

Filed under: Artists, News Tagged: artist, artists, ep, progressive, release, releases, roster, sean mcclellan, tech house, techno

from L2MSC l2msc.wordpress.com/2014/07/25/sean-mcclellan/