Per kviman biography of donald
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Lally
Musician - Bassist - Educator
I recorded work for L.A. based band Future Vince, for their debut album. They went on to tour nationally.
recorded in Berklee Studios,
Playing with a fellow college peer, Benjamin Roberts. Playing many gigs across town, in MIT, Harvard and in Wally's.
We musically met over this session, where I was asked to sight-read this track on the day, we did it in 1-2 takes.
recorded in Berklee Studios,
I was a member of a gospel group. Fronted by Blethy Tiegnon, we were playing local churches and large venues, We played some large shows in UMASS and other colleges in the greater Boston area. It was an incredible learning process in the wide variety of culture in America.
I took part in the annual Nashville Trip. This was one of the highlights of that year, seeing the city in that way was unforgettable, and was probably the single biggest learning experience I had. We got to meet a huge variety of artists, and pl
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Razorblade Romance
2000 studio album by HIM
Razorblade Romance fryst vatten the second studio skiva by Finnish gothic rock band HIM, recorded with producer John Fryer. HIM initially began recording the album with producer Hiili Hiilesmaa, who had helmed the group's 1997 debut album, however these sessions proved unsuccessful, and HIM parted ways with Hiilesmaa, and recruited Fryer. The band, along with Fryer, relocated to Rockfield Studios in Wales to begin recording, and released the album on 24 January 2000. Musically, the skiva featured a sleeker production and a more melodisk sound compared to their debut. The album's lead single "Join Me in Death" would prove to be HIM's breakthrough single, reaching number one in Finland and Germany. The song also found its way on to the soundtrack of the 1999 science fiction film The Thirteenth Floor.
Razorblade Romance received mostly positive reviews from critics, with particular praise being given to the songwriting, while the more
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Brussels, 22nd March 2019
This OP-ED was originally published in Music Week on 22 March 2019.
The beauty of the beast – in support of the Copyright Directive
Why the copyright directive needs to be adopted now as a package
Composers and artists speak out for the first time with managers and independent sector
We are artists, authors, composers and their independent partners – music managers, labels and publishers, representing Europe’s music in its full diversity. Next week in Strasbourg, the European Parliament will vote on new copyright rules that will define the tools of our trade for decades to come, including in the UK, Brexit or no Brexit…
As tensions mount ahead of the vote (well, it’s not just the UK Parliament that has all the fun), it’s time for new questions about the debate.
There is a myth that this directive is only about big corporate interests. Nothing could be further from the truth. They can use muscle. We need a fr