:: Alternative History


DP in Dobrss

Sunday, August 18th, 2019

JP      Milos Valent      Ariel Abramovich

This was a first for us, multiple firsts in fact  – the first time Ariel, Milos and I had performed together, the first time Ariel had played with the Dowland Project, and the first time we’ve done a gig without the sax of John Surman. It was exhilarating – bang on the DP button, with neither us nor the audience knowing exactly what would happen next. We revisited some old DP repertoire, beginning Can ve la lautzeter mover, with Milos conjuring bird noises on his rebec from up in the gallery, then morphing into Pulcherima rosa from C16 Prague. Then we were into new territory with Godric’s oldest songs in the English language, and on through Dowland, Holst, Vaughan-Williams, ending up with some Alternative History pieces by Sting and Tony Banks. We finished with Finisterre, and when I announced it as our anti-Brexit song there was an outbreak of spontaneous cheering which was  deeply touching.

We were in beautiful Dobrss, about halfway between Prague and Salzburg and so deep in the Czech countryside that your Satnav probably won’t find it. Yet people came from Prague and even Bratislava to hear us. The Dobrsska-Brana festival is a wonderful combination of local hospitality and international music making – a big thankyou for inviting us.

The good people of Dobrss were obviously well aware of the giant cock-up that is about to befall us Brits:

That’s the last Dowland Project gig in the diary for this year, but we will be on the road again in Germany in 2020. In the meantime I’ll be doing duo recitals with both Ariel and Milos, and Ariel and I will get together for more Alternative History in Sweden and Spain in the autumn. My next gigs are with Trio Mediaeval in the UK and Germany next month: Machaut and the Kings of Cyprus.

 

Summer concerts

Friday, August 2nd, 2019

A Singer’s Guide to Britain

Some weeks ago Jacob Heringman and I did some recording in the Treasurer’s House for  a forthcoming BBC Radio 4 series ‘A Singer’s Guide to Britain‘, fronted by Roderick Williams. Our contributions will appear in episodes 2 and 3 transmitted on August 14 and 21. We wittered away at some length between pieces – mostly about our Alternative History view of the world and how different it is from the CD-driven fantasies of today, but no doubt only a fraction of our ramblings will have made the final cut. Roddy Williams, incidentally, used to sing in our expanded Hilliard choir for Arvo Part’s Passio in his youth and once sacrificed his trousers when mine got left behind.

Dobrsska Brana

On August 16 Ariel Abramovich, Milos Valent and I will be doing  a unique Dowland Project one-off in the Czech Republic, not far from Prague. This will be the first time the three of us have performed together, though I have performed many times with both of them in different contexts. As well as revisiting some Dowland Project numbers we’ll be exploring Holst and Vaughan-Williams as well as new versions of songs by Tony Banks and Sting.

Trio Mediaeval quartet

It’s more than twenty years since I first heard  Trio Mediaeval at a Hilliard Summer School in Cambridge.  They invited me to produce their first albums, which went on to be hugely successful on ECM.  Our paths have occasionally crossed since then, and we’ll be getting together again in September for a new programme called Machaut and the Kings of Cyprus.  This explores the connection between Machaut and the mysterious Cypriot-French composers of a generation or two later. The first half will consist of the Machaut mass, together with Cypriot chant antiphons, followed after the interval by a mass and motets from Cyprus.  The first outing is at Hebden Bridge on September 12,  and then in Otterberg on the 14th.

As it’s summer and holiday time, my next post will reveal what tenors do on their days off…

 

The Book of Lost Lute Songs

Monday, July 1st, 2019

photo Guy Carpenter

This coming Saturday Jacob Heringman and I will open our Book of Lost Lute Songs for the final time in the UK this year. The idea behind it is to apply 17th century performance practice to later music, and among other things imagines a counter-factual take on the early music movement which is assumed to have begun in the 1920s. It’s very much the agenda that drives our Alternative History project with Ariel Abramovich and Anna Maria Friman, and which came together in our Amores Pasados album for ECM.

The programme opens with a group of renaissance poems set by Stephen Wilkinson (originally for voice and guitar) and Peter Pope (for choir). These have been intabulated and arranged by Jake for voice and lute as his 17th century forebears would have done, but with one difference: he plays as many of the composer’s notes as will fit on the instrument and I don’t attempt to ‘improve’ the vocal line. It’s a nod in the direction of what might have happened had lute players been around when 20th century composers set renaissance verse.

Next come three of Holst’s Four Songs for Voice & Violin set to medieval texts. We miss out I Sing of a Maiden, partly because Patrick Hadley wrote the definitive version in my book, but also because I’ve improvised on the poem so many times with the Dowland Project I couldn’t trust myself to stick to Holst’s notes. Instead we’ll do Jake’s intabulation of The Thought (also a love song but of the human rather than spiritual variety). I will be doing the complete set with Milos Valent on violin in the Czech Republic next month as penance.

Then we have two short songs by Vaughan-Williams: Along the Field, also originally for voice and violin, and Twilight People, originally for voice and optional piano. The first half finishes with a group of songs by Peter Warlock. It was Warlock’s settings of 17th century verse that inspired our first forays into this imaginary neck of the woods, but two of the three we have selected have poems by his contemporaries Bruce Blunt and Hilaire Belloc. The third is Warlock’s shortest song, How Many Miles to Babylon, a lullaby which I hope to surprise my granddaughters with as it’ll be just about their bed time.

The main reason we like to inhabit the 16th and 17th centuries is not just that the composers are dead, but that the composer-performer relationship would have been completely different when they were alive. That relationship survives in many other compositional genres outside ‘classical music’, and we have been very comfortable asking jazz and rock musicians to create songs for us. The pieces by Sting and Tony Banks in the second half work in exactly the same way as a song from the 17th century: the composer provides a blueprint and our task is to realise the song in whatever way we like; although the composers own the rights, we performers in practice own the music. We’ve never commissioned a ‘proper’ composer, but Late Music asked if we’d do a new piece by Michael Parkin, and we’d already decided to perform the winning song from John Casken’s Alwinton composers competition held earlier this year. This turned out to have two winners: Patrick Gardner and Joshua Brown. So our counter-factual machinations now include assuming the early music movement hasn’t happened at all…except that the Alwinton pieces also have bass viol so we are hoping Susanna Pell will be passing by, instrument at the ready.

Of course it’s not actually as simple as that: Jake has done huge amounts of ‘proper’ music and my concert biog at one time claimed I’d done more first performances than any other English tenor.  Do come and join us on Saturday evening at York’s beautiful St Saviourgate Unitarian Chapel if you’d like to hear how we get on.

 

Amores Pasados

June/July concerts

Tuesday, May 14th, 2019

Just back from another trip to the Trollhättan Festival in Sweden. A drone strike at Frankfurt airport where I had to change planes on the way out caused complete chaos and I ended up running the length of the airport and just made it before they shut the door. Post-Brexit and without freedom of movement I wouldn’t have made it (and doing the gig at all may even have been just too much hassle). I’m sure anyone reading this in the UK will vote Remain on the 23rd…

Tampere Vocal Festival

At the beginning of June I’ve been invited to the 30th Tampere Vocal Festival, where I’ll be saying a few words at the opening of the ensemble contest exhibition. I chaired the jury for more than 20 of those years and it’ll be great to revisit the Manchester of Finland (now famous for skateboarding as well as singing and its Scottish heritage).

Concerts in the UK

Even though Jacob Heringman and I live less than fifty miles from each other we most often meet somewhere on the European mainland at an Alternative History gig (often Spain) to which he has travelled by train and for which I have blown the carbon on a plane. This month we’re being a bit more carbon neutral, beginning with the screening of Mark Burghagen’s Sacred King film for which we provided the music (and subsequently re-used for our own Brexit video). We then have four concerts in the UK: two with the Herschel Trio, one with Pellingman’s Saraband and a lutesong recital of our very own.

The first of these is on June 15th at the  Alwinton Summer Festival when we’ll be joined by Susanna Pell for a mix of old and new music including the winners of the Alwinton Composers’ Competition which we’ll workshop earlier in the afternoon.  Then on the 22nd we’re in Stanhope with the Herschel Trio:

and then on the 23rd we have a concert in York at St Olave’s church:

 

The programmes for these two concerts will feature a unique copy of the Queen Elisabeth Virginal. This exquisite instrument formed part of the collection of Queen Elizabeth I, and its decoration includes both the Royal Coat of Arms, and an image of a Crowned Falcon standing on a tree stump, hence our title.

A couple of weeks later, on July 6th we’ll be appearing in York again, this time in the Late Music series. This will be an all-20th/21st century programme and we’ll be repeating the winning piece from Alwinton as well as Jake’s transcriptions and arrangements of early twentieth songs by Warlock, Vaughan-Williams, Holst and others, together with some of the songs given to us by Tony Banks and Sting.

…and Portugal

On July 21st I’ll be at the Marvao Festival  for a rare foray into Mozart. I’ll be singing the Missa Solemnis K 337 with the Cologne Chamber Orchestra and Juliana Banse conducted by Christoph Poppen (with whom I recorded Hilliard Morimur album many years ago).  The next day David James, Jacob Heringman and I will be doing an extended version of the programme we did in Sheffield cathedral last year, based on Dufay’s L’Homme Arme Mass (at the  Igreja de Santa Maria / Museu Municipal, starting at 4.00.

After that I have a break until the Dobrs Festival in the Czech Republic in August. It’ll be a unique one-off with Milos Valent and Ariel Abramovich. More details in a while.

 

Details of these and other ECM-related concerts can be found on my page on the ECM site.

 

In darkness – the making of…

Friday, March 1st, 2019

To commemorate our REMA performance on Brexit Eve (March 28) Jacob Heringman and I persuaded Guy Carpenter to create a video to go with our recent recording of Dowland’s In Darkness Let me Dwell (originally recorded for Mark Burghagen’s Sacred King film).  The inspiration for the shoot was a session the three of us did last year at a ruined cottage high up in the Dales, and the plan this time was for us to walk along an appropriately Brexit-like cliff edge and arrive at the ruin where we would again burn our scores to keep warm in the post-Brexit landscape. The window of opportunity consisted of  a just a few hours of the one day we were all free, which miraculously turned out to be the hottest winter day ever with the most amazing light.

We walked for what seemed like hours through the heather, with spectacular views on all sides

as the sun got lower and more dazzling with each step

until Guy launched his drone.

We had to work quickly as the clock (Brexit-like…) ticked away, so  we set off on our cliff-edge trek into the sunset,

eventually arriving at our destination, where we lit the fire

and managed to get it all in the can before the sun sank out of sight

 

You can see the result on YouTube here

Projects for 2019

Friday, December 7th, 2018

In darkness…

My last event of 2018 was recording John Dowland’s In darkness let me Dwell with Jacob Heringman for Mark Burghagen’s film of the final soliloquy in Shakespeare’s Richard II launched in February  on the anniversary of the King’s death in 1400.  Dowland’s most melancholic piece  seemed not only appropriate for the Shakespeare but also for most of the likely Brexit scenarios. This Guy Carpenter photo of Jake and me in a post-Brexit landscape (burning our scores to keep warm) is the inspiration for a video that we’re making to coincide with our private valedictory performance to European early music promoters on Brexit Eve, which will use In Darkness as the sound track.

Alternative History

On February 15 the Alternative History ensemble got back together for gigs in Madrid (Amores Pasados) and Barcelona (an all-Josquin programme). It was a great start to what promises to be another busy Alternative History year  and the press loved both events:

Rompiendo barreras con “Amores pasados: de Dowland a Sting”, de Alternative History

Desprez en la intimidad

http://revistamusical.cat/critica/ars-perfecta/

The various fractals of the Alternative History project will also be busy, and I’ll be doing recitals with both Ariel Abramovich and Jacob Heringman. Jake and I have more UK gigs,including  John Casken’s Alwinton Summer Music, which will feature a composition competition for a new lute song. We’ll then repeat the winning entry in York’s Late Music series. John Casken wrote Sharp Thorne – one of the Hilliard Ensemble’s signature pieces – and it will be great to catch up with him again. Jake and I will also be doing concerts in York (including a special Brexit themed event on Brexit Eve for the REMA conference at the NCEM) and we’ll repeat our Dufay mass with countertenor David James in Portugal.

Bryars and Beyond

I’ll be doing Gavin Bryars’ Nothing Like the Sun in Hull in April and returning to Trollhättan for the TrollhättansTidig Musik-dagar with Serikon in May, and there will be new collaborations in the summer. More soon…

Trio Mediaeval

Plans for the new project with Trio Mediaeval are coming on apace. The programme is called Machaut and the Kings of Cyprus, and will celebrate the extraordinary connection between Reims and Nicosia at the end of the 14th century and the beginning of the 15th. The manuscript known to musicologists (but not to many performers or audiences) as Torino J.II.9 is an extraordinary collection of ars subtilior polyphony and chant by a single unknown author who clearly knew the music of Guillaume de Machaut. We will bring the two strands together in performances of the Machaut mass and a Cypriot mass of a generation or two later.  At the moment we have concerts lined up in Norway, Germany and the UK (details to follow when we’ve worked out a coherent schedule). 

 

Recent videos

Sunday, November 11th, 2018

Alternative History in Seville

Our York concert was live streamed, so (miraculously) Ariel Abramovich’s family in Argentina and Anna Maria Friman’s in Sweden were able to watch it in real time. It was great to see so many old friends at the university, and to welcome Tony Banks to our Blackheath gig where he heard two of his pieces for the first time. We’ll next all meet in Seville on 28th for a Murillo-themed programme of Victoria and Josquin (including the amazing Bovicelli version of Victoria’s Vadam et Circuibo).

Gavin Bryars’ Winestead

We’ll be doing Winestead again at Triskel in Cork on the 25th and at the National Concert Hall in  Dublin on the 26th. We made a video (in one take) in Andrew Marvel’s eponymous church while rehearsing for the premiere as part of the Hull City of Culture celebrations. It’s become one of my favourite pieces of Gavin’s (most of it is even in my range).

Serikon in Uppsala: The Travels of St Bridget

The Travels of St Bridget was also live streamed and the video is still available on the Kirkomusik Symposium website here (scroll down till you get to the right one). It’s an hour and twenty minutes long, but full of great stuff (for Swedish speakers Anna Maria Friman slaying the dragon is a tour de force, and you won’t find a more impressive cowhorn virtuoso than Daniel Stighall). About 55 minutes in there’s Gavin Bryars’ Lauda 47 in a new arrangement for this concert.

Alternative History at Musica Divina in Krakow

Musica Divina have produced a beautiful short video of highlights from the festival, which you can see here. Our bit starts around 1.55 but the whole thing is well worth watching.

 

October adventures

Tuesday, October 16th, 2018

October means two things: ten days holiday in Italy working our way across from Lucca to Venice celebrating a significant anniversary, followed by the Dowland Project’s appearance at the Grenzenlos festival in Murnau on the 21st.

The Italian trip turned into yet more of an adventure than I was anticipating when we arrived at the car hire in Pisa to discover my driving license had expired.  After some frantic lateral thinking it became a trip by train, taxi and boat, with only one change of reservation (miraculously). Huge thanks to Trenitalia, all of whose trains ran absolutely on time (and were incredibly cheap), to countless helpful taxi drivers and Vaporetti crew who manhandled the luggage we thought was going to fit in a car – and special thanks to Erica who rescued us in Castell’Arquato and drove us to Fiorenzuola station so we could get to Sabbioneta. It was all total magic until we arrived back at Manchester airport to find the Trans Pennine Express had cancelled our train and the two we eventually caught both developed faults. Italy has a bonkers right-wing government which manages to make the trains work, why can’t ours?

On the Murnau blurb I’m billed, curiously, as a countertenor. I was once billed as a male soprano at a Purcell Room concert eons ago when I had to sing some pretty crotch-tightening arias but I’ve not yet dared to sing falsetto in public (it’s frightening enough in private) and I’m certainly not going to this time (I hope this is a cause for relief rather than disappointment). The evening is called Time Travel, and begins with readings by the actors Undine Brixner and Nicolaus Paryla, before we launch into a short tour of the DP repertoire from Troubadour song to Schubert, plus a digression via Placidus von Camerloher (1718-1782) and a folk song or two.

In November the Alternative History quartet has two concerts in the UK, at the University of York on the 7th and the Greenwich Early Music Festival on the 9th. I think this is the first time we’ve done two consecutive concerts in the country that two of us live in. I guess that post-Brexit our fellow band members won’t be allowed in so make sure you catch us while you can. Then at the end of the month we return to the mainland (our natural home) with a special programme for the Murillo festival in Seville. Sadly, the gigs we were hoping would follow this have been postponed till next year, and our next concerts in Spain will be in February.

In between the AH gigs I have an experimental concert with my former Hilliard Ensemble colleague David James at St Marie’s Cathedral Sheffield on November 10th. This will mark the 100th anniversary of the end of WW1 with a performance of Guillaume Dufay’s L’Homme Arme mass in a version for the two of us and Jacob Heringman (lute).  We’ll also be re-visiting some Byrd, Tallis and Arvo Part that we used to do with the Hilliards.  We’ll be repeating the programme in Marvao in July, and if all goes well we might expand our repertoire for future concerts.

On November 25th I’ll be returning to Triskel Arts Centre in Cork, this time with the Gavin Bryars Ensemble to celebrate Triskel’s 40th anniversary. We’ll be doing Jesus Blood, Winestead and a new Lauda composed for the occasion. The next day we repeat the programme at the National Concert Hall in Dublin as part of Gavin’s 75th birthday celebrations.

New season dates

Saturday, June 16th, 2018

 

 

 

Alternative History

We were at the magnificent Kościół św. Józefa in Krakow on August 11 with a new programme called Secret History: ancient and modern polyphony for voices & lutes. The title comes from our current ECM album but unlike the CD (which is of music by Josquin & Victoria) this programme included new compositions and intabulations alongside the early music. Ariel and Jake played Arvo Pärt’s Pari Intervallo in a version newly sanctioned by the composer (‘Play it faster!’), and we did the first performance of Ash and Snow composed for us by former Weather Report drummer Peter Erskine, as well the first performance in Poland of John Paul Jones’ Cradle Song which we first performed in the Swaledale Festival last year. Huge thanks to the incredibly hospitable Musica Divina team.

We’ll be doing a similar programme in Cork at the wonderful Triskel Arts Centre on September 21, a kind of enhanced replacement for the gig we had to cancel because of snow back in March (enhanced because European Early Music Day had to go ahead without us so we’re not limited to the Renaissance this time). We had a wonderful time on our last visit and we’re really looking forward to actually getting there this time.

The quartet  next meets in York on November 7, my first time back in the Jack Lyons since my farewell concert of music by Veljo Tormis  with The 24 back in 2010 or so. This will be River God Songs and will include material from our proposed next album, including Moeran, Warlock and Peter Pope as well as the new John Paul Jones and Peter Erskine pieces. We’re also hoping to  do Ian Telfer’s Finisterre. This is a song June Tabor first recorded with the Oysterband in 1989, and then re-recorded in 2010 for her own album Ashore. The first version is a fairly anonymous sea shanty, the second one of the most eloquent and moving songs I’ve ever heard, so it’s a sort of tribute to June T and the idea that a song can be whatever you want it to be. I’ll probably try it out in September with the Dowland Project to make sure it works in our semi-improvised way (I’m tempted to play the piano…).

Two days later we’ll repeat the York programme in the Greenwich Early Music Festival (in Blackheath), and then we reconvene in Spain for concerts in Seville (28th) and Cadiz (29th) after which we go on to the Canary Islands.

Conductus in Worms

On September 2 I’ll join Christopher O’Gorman and my former Hilliard colleague Rogers Covey-Crump in the Magnuskirche Worms for the opening concert in the Kultursommerreihe Via Mediaeval series (no idea why it’s billed as in that link – I’m obviously bigger in Worms than I thought). Five years ago we did one of our first trio concerts in the same series. We’re returning 3 CDs, acres of research and dozens of performance later, to present a completely new programme which will also include some heavyweight organa (possibly being sung for the first time in 800 years).

St Bridget in Uppsala

On September 14  I’ll be with Serikon for the Travels of St Bridget programme in Uppsala cathedral,  following on from our concerts in Sweden last year. The programme will also include new versions of at least one of Gavin Bryars’ Laude arranged by Gavin specially for this ensemble.

Gavin in Bryarland

…and I’ll be doing two concerts of Gavin’s music in Ireland in November (it’s a very busy month). These will be in Cork (25) and Dublin (26) and will include Winestead (composed for the Hull City of Culture last year) and a new commission to celebrate the 40th anniversary of Triskel Arts Centre.

Resurrecting Dufay 

On November 10  I’ll be getting together in Sheffield Cathedral with my ex-Hilliard Ensemble colleague David James to do Jacob Heringman’s transcription of Guillaume Dufay’s L’Homme Arme mass for the three of us (Jake playing the two lower parts). In between the mass movements we’ll do Byrd and Tallis Motets. The Dufay mass is one that I particularly enjoyed singing with David and the Hilliards. It must be nearly 20 years since we last did it, so fingers crossed…

Dowland Project in Germany

It’s been a while since the Dowland Project’s last gig so I’m delighted we’ve been asked to Murnau on October 21 for the Grenzenlos world music festival. The line-up will be me, John Surman, Milos Valent and Jacob Heringman and there will be improvisations galore (based loosely around the Night Sessions album), some Schubert and a tribute to local musical hero Placidus von Camerloher. There is nothing more liberating than a Dowland Project gig, and I can’t wait.

 

…and a postscript:

I don’t think I actually mentioned Aretha Franklin in A History of Singing, so it was a big surprise to see the book quoted (though not attributed) in a Guardian leader celebrating her life.  It’s quite touching when you discover someone’s actually read your stuff, and especially when they can extrapolate from it (the Guardian’s writer puts a wonderfully human gloss on the real importance of singing). In Krakow last week a couple came up after the concert and asked me to sign their well-worn copy of the Cambridge Companion – or their bible, as they called it.

Anglo-German Adventures

Sunday, May 20th, 2018

 

I first visited Germany on my way to Istanbul, hitch-hiking between school and university. My friend Nick, who was bolder than I, blagged us a lift from the car deck on the ferry and we were dropped somewhere in Germany. Off the Autobahn we found ourselves apparently lost in the countryside, but were soon picked up by a lorry from a nearby brewery. The driver was politely amused by our schoolboy German (I’d just scraped an O level) and reached behind to pass us a bottle each. The three of us happily slurped away until he dropped us off at an inn for lunch. That’s the kind of welcome a teenager doesn’t forget. A few weeks later we were in what was then Yugoslavia and were picked up by German shirt smuggler (if I understood him correctly) and he took us most of the way to Turkey, stopping near the border at a mountain spring where he treated us to fresh yogurt and gherkins. I’d never had either before and can still taste them.

I’ve been enjoying German hospitality ever since, one way or another. I got to know towns I’d never heard of through concerts with the Hilliard Ensemble. The group could have survived handsomely just on the German gigs alone (and, of course, we had a famous German record company). The hypothecated church tax meant that most churches had more money than they knew what to do with, and concert promotion was a great way to spend it.  The group’s success meant that when we started our summer school series we had many applications from some amazing German singers. Singer Pur and Amarcord, for example, went on to become world famous; some students returned each year with different ensembles and are still firm friends. The person we most have to thank is Werner Schüßler, who not only introduced us to scores of wonderful German musicians but rescued the summer school and was responsible for bringing it to Schloss Engers on the Rhine.   Werner is an educator extraordinaire (as his recently published book on singing comprehensively demonstrates) and has coached hundreds of young singers over the years (and I’ve been delighted to join him on numerous occasions). He has a particular affinity with Northern England (he speaks fluent Geordie) and is a frequent visitor to this part of the world. At 3.30 on Tuesday 29th May he will be presenting two of his student ensembles in York Minster’s Chapter House. If you can get there, come and support these young singers (I’ve coached them myself too, and can guarantee you’ll have a great time). It’s a wonderful programme including music by Hildegard von Bingen, Mendelssohn, Rheinberger and Whitacre among others, which should sound stunning in the Chapter House acoustic.   If you miss them, on the 31st they can be heard in a lunchtime concert at St Andrew’s Corbridge (12.30) followed by evensong at Hexham Abbey at 6.30.

 

English Music Festival

The previous weekend (Saturday 26th at 2.15) Jacob Heringman and I will be opening the latest edition of our Book of Lost Lute Songs at Sutton Courtenay church (where George Orwell is buried).  The first half of the programme is a sort of Paston tribute, with movements from all three Byrd masses and motets (sung and played) by Tallis, Byrd, Dowland and Anon. The second half is an all-Heringman intabulationfest of music by Warlock, Butterworth, Moeran, Stephen Wilkinson, Peter Pope and Tony Banks. Quite a lot of this we’ll be doing in versions we haven’t tried before; it will be our third recital in England this year – a record for me. Jacob can also be heard with Ariel Abramovich in the Swaledale Festival on June 7th (sold out but you might get returns). The three of us will be joining Anna Maria Friman for Alternative History gigs in Poland, Ireland, Spain, Sweden, the UK and the Canary Islands later in the year.