Spotify has taken my “LIGHTS OUT Podcast” down

For your information:

Hi,

 

We have found your podcast content to be in violation of our content policies, and we have removed it. You can read more about our podcast content policies in our Spotify for Podcasters Terms & Conditions.

 

LIGHTS OUT Podcast – feeds.soundcloud.com/users/soundcloud:users:14263/sounds.rss

 

If you’re a creator looking to get your music on Spotify, you can check out our How do I get music on Spotify FAQ on Spotify for Artists. You can also use one of our preferred providers to distribute your music.

 

Please do not respond to this email as replies will not be monitored.

 

Sincerely,
Spotify

What has been a real issue on SoundCloud is now an issue on Spotify. I know that all the producers and labels are happy when I showcase their music on my shows. This system is broken and dysfunctional. Music that gets promoted via podcasts and radio shows gets blocked by a flawed copyright monitoring system. It’s not humans that make those individual decisions, it’s algorithms.

Worry not, the podcast and its individual shows is still available on SoundCloud, MIXCLOUD and via RSS feed:

 

Dear Spotify, if you read this: the entire fucking point of a DJ mix is the DJ playing records of other people. That promotes the record, the artist and the label. This is how underground electronic music works. I can’t believe I have to explain this to the world’s biggest music streaming company. You wanted podcasts, you get podcasts. Now, you kick the podcasts of DJs like me. This is ridiculous.

P.S.: The system is very slow. It took them around 2 months to find out that I promote other people’s music on my podcast, which is the entire point of playing and recording DJ sets and making them available as podcasts.

The LIGHTS OUT Podcast

Ingo Vogelmann PodcastOkay peeps, I have some good news for you. No, unfortunately I have not developed a vaccine. But something that makes life a little sweeter, especially in these times.

The first big thing: the LIGHTS OUT Podcast on Spotify!

It consists of all my DJ sets, both LIGHTWORKS and TIME OUT and all guest or live sets or radio shows. All-in-one, so to speak.

All the material is also on SoundCloud, but that’s less cool (but downloadable), but listening comfortably on Spotify alongside all the other stuff that’s up your alley on an every day basis is a completely different story. And I think it’s a much better one. You can also listen to everything conveniently offline.

And here it is: ingovogelmann.net/podcast (redirect to Spotify)

One thing: the more followers the better for me. You don’t have to actually listen, but following would be great anyway. I know that sounds strange, but I’m serious.  Please, follow the podcast as a if you like me. Even if not. Follow anyway.

If you like me or what I do so much that you want to support me beyond that, you can do it here: patreon.com/vogelmann

Speaking of which… I would like to thank those who jumped on the train immediately yesterday after asking for help. That is very very sweet of you. Thank you very much!

Next topic: this isn’t supposed to be the only podcast. My dear friend Jakob (Addliss) and I are thinking about a “Chit Chat Podcast” (this is not the exact title, more a description). It’s not supposed to be thematic, but rather just random conversation.

And then I’m planning another podcast. Purely music-related, music theory, experience, knowledge, technology, etc., and possibly also guest interviews.

Okay, that’s it for now. I’ll let you know when the other two things go off. Until then, I hope you enjoy the podcast on Spotify! And don’t forget: FOLLOW, FOLLOW, FOLLOW!

Brutal facts after leaving Facebook

After a few months without Facebook and some new releases, the result is disastrous when it comes to marketing my music. I usually sold a few hundred copies at Bandcamp in the first few days after new music was released. There is absolutely no comparison to that now, I am far from it, to put it mildly.

I had the most visitors to my website through Facebook, and most of the buyers of my music came through Facebook. Twitter absolutely cannot close this gap. Where Facebook was responsible for 80% influx, Twitter is only 10%. Neither my own website nor any social network can compensate for this.

These are facts and they bother me massively. I hate Facebook, think it’s wrong, harmful, and also criminal. My dilemma is quite big, accordingly.

I currently have to put up with the question of whether I can afford the absence of Facebook as someone who wants to make money with music (not necessarily, but want to). I am very busy in the studio and have lots of releases planned. I have never been more creative than now, and it hurts me that things are going down on the business side of things… just because of the fact that I left Facebook.

It would be very nice if you would support me if you like what I do. You can either buy my music on Bandcamp, stream it on Spotify or Apple Music or donate something. I don’t want gifts, you know that I always give more than I ask back. 😉

Thank you very much!

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!

LIGHTWORKS & TIME OUT Playlists on Spotify

It’s on (like Donkey Kong)!

I programmed my own algorithm that only picks the music that I love and that reflects the sound of the shows. New music added automatically every Friday!

LIGHTWORKS tracks: ingovogelmann.net/lws (re-direction to the Spotify playlist)

TIME OUT tracks: ingovogelmann.net/tos (re-direction to the Spotify playlist)

“What the…?” you might think. This is the deal:

I (very) often get asked why I throw all my favorite music into one playlist, which would be this one: ingovogelmann.net/ivmc (“Ingo Vogelmann’s Medicine Cabinet”). Because most of you either like electronic music or hand-made music (like neo-classic, rock etc.), which I personally both like the same, along with a huge plethora of other music. That playlist is what I personally listen to most of the time I listen to music. I’m not very narrow-minded when it comes to music, and other things. There’s beauty in a lot of things out there.

Now, with the new playlists you can choose for yourself, at least between the dance and the chilled side of things (I might add playlist for rock or neo-classic and other genres in the future). Plus, the tracks featured in the new playlists are almost exactly what I would and do play on my LIGHTWORKS and TIME OUT shows/podcasts (if you like to call it that, or whatever), minus the unreleased promos, of course.

Go, head over to those playists, check them out and subscribe!

LIGHTWORKS tracks: ingovogelmann.net/lws (re-direction to the Spotify playlist)

TIME OUT tracks: ingovogelmann.net/tos (re-direction to the Spotify playlist)

(and let me know what you think)

Thank You!

I’m not huge on Spotify, but every listener and supporter counts massively in my book. A single note can change the life of a single person, this is how I see it. If I have only made one person on this planet feeling better with my music: mission accomplished.

So, THANK YOU ALL (and click the image to check my Spotify artist page)!

P.S.: I know, I’m lagging on the album… it’s coming, no worries. It has to be perfect, you know… 😉

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.

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.