Han-earl Park, April 11, 2011: ‘Lab report 2007-2011: signing-out as curator’

“As previously announced, after thirty-two events over three and a quarter years, I’ve stepped down as curator of Stet Lab as of February 2011.”

Corey Mwamba, December 9, 2010: ‘Lab report december 6th 2010: thank you!’

“It always helps if the other people are wanting to do the same thing and I think that happened—there were some lovely moments where things really came together. I was even relaxed enough to go on the drums—which as I am sure you’ll hear, was a mistake, but a relaxed mistake.”

Susan Geaney, December 6, 2010: ‘Lab report november 15th 2010: let the rant begin…’

“We improvisers dig the ego or can’t escape it. Like a game of snakes and ladders, we chop and change direction every 2–5″.”

Colm Pattwell, November 23, 2010: ‘Lab report october 11th and november 15th 2010: humming, buzzing’

“One thing I want to hear is someone just grooving on something limited or ‘standard’ for want of a better word. For all the different music being played at the lab, sometimes it just doesn’t sound that different to itself!”

Han-earl Park, April 26, 2010: ‘Lab report april 12th 2010: consequences of actions’

“A single quote… can have interesting and problematic consequences for interaction. The effectiveness of the quote—to be able to collapse and redirect and improvisation—is also what makes them hard to deal with.”

John Godfrey, April 23, 2010: ‘Lab report april 12th 2010: kudos’

Han-earl Park, April 7, 2010: ‘Lab report march 8th 2010: 3+1 questions’

“Is ‘success’ (however that’s defined) a meaningful idea in approaching (as listener or performer) improvisation?”

Ruti Lachs, February 7, 2010: ‘Lab report january 11th 2010: get together and make weird noises’

“I played some stuff that I couldn’t recognise as a tune, but the audience seemed to recognise it as valid, cos they clapped, and even laughed once or twice at the funny bits!”

Han-earl Park, January 26, 2010: ‘Lab report december 7th 2009: futzing’

“Neither ‘intentional’ (‘deliberate’ and ‘authorial’) nor ‘noise’ (e.g. the Cagian denial of agency). These things—‘noise’/‘intention’—exist on a line, and it isn’t so much about riding the border between them, but steeping off that line. We want to enter a space that is not about control, nor the lack of it, but about surprises, densities and irregularities; about relationships—differences and negotiations….”

Han-earl Park, November 21, 2009: ‘Lab report november 10th 2009: history and lineage’

“I want, at bare minimum, to be able to play—to have a relationship with the guitar that is technically accomplished—but I also want to want to be heard—that listeners/audiences would seek out my playing and my performances.”

Han-earl Park, November 2, 2009: ‘Lab report october 12th 2009: a conversation with eliza’

“Most of my work in the last few years has been in the jam session mold. People fly in, or I fly out, and there’s an ad-hoc meeting. What I miss is the band.”

Piaras Hoban, October 20, 2009: ‘Lab report October 12th 2009: be no shelter to these outrages’

“tap
“low end light a little
“the
“blow tap tap wind
“blow tap tap wind tap
“on”

Han-earl Park, July 3, 2009: ‘Lab report June 8th 2009: play different’

“I did have fun, but I think I also realized (remembered?) why I’d been avoiding this particular mode of interaction. It’s too easy; the choices are the most obvious. It’s like movies that, uncertain of the intelligence of their audience, get loaded with too much exposition.”

Veronica Tadman, June 13, 2009: ‘Lab report June 8th 2009: the alarm will sound if you don’t back away’

“So, why was it annoying me? I think it’s because I love control. (Why then am I interested in performing improvisation?) I wasn’t in control of the alarm: one could argue that I wasn’t in control of my fellow improvisers, but my argument to that is, if I wanted to I could have pulled the plug and prevented power. Also as we were an ensemble my input had a consequence on what happened (especially with what Piaras [Hoban] was doing because i was linked to his computer). Likewise he was in control of what happened with my input so it was almost like equilibrium.”

Han-earl Park, June 10, 2009: ‘Lab report May 11th 2009: parking your idiom’

“…I want the listening experience to be rich and interesting. If you’re sharp, you’d have caught it, made connections, and patted yourself on the back for being a clever listener; if not, well, no biggie, hopefully there’s enough complexity to provide ear-candy and (unintended) connections.”

Han-earl Park, May 25, 2009: ‘Lab report April 14th 2009: little instruments’

“My mentors include those who enroll gargantuan complex of musical resources and those who do not. How do I figure in this equation? There are, of course, pragmatic dimensions to this… but nonetheless what are the political/ideological implications of subscribing to one position?”

Ros Steer, April 1, 2009: ‘Lab report March 10th 2009: beginner bassist’s blathering blog’

“Leaving aside any personal taste in the aesthetics of sound, I think it’s more fun to perform together. I don’t mean that the performers should always be ‘in tune’ with each other or mimicking each other but just in tune to each other.”

Han-earl Park, March 29, 2009: ‘Lab report March 10th 2009: the possibility of failure’

“There’s a logic to the… abandonment of safety nets. Their absence can reveal who you are (and might be) without those prothesis. In engineering terms, by removing a component, you can test out the behavior of the rest of the (cyborgian) system…. What I discovered wasn’t exactly wonderful.”

Han-earl Park, February 23, 2009: ‘Lab report February 10th 2009: train wrecks and other fascinating disasters’

“I’m not sure what ‘opposite’ might mean in a musical-performance context (never mind one in which identities and relationships are being (re)negotiated in real-time). Isn’t saying that this (performance infected by agendas, etc.) is not improvisation, akin to saying that polemical or ideological disagreements are not democratic?”

Andrea Bonino, February 22, 2009: ‘Lab report February 10th 2009: on playing and being played’

“In the best moments when music really works, I still have the impression that music is coming through the musicians, and the musicians receive it and transmit it more or less like a radio set… think about that weird and beautiful sound that came out of your instrument almost by accident, and that you are trying to recreate with no success and you get the picture.”

Han-earl Park, January 30, 2009: ‘Lab report 2007-2009: how to run an improvised music club’

“Whether you would want to organize a regular improvised music event depends on what you’re looking to gain from it. Stet Lab, for me, is partly a long-term scene-building exercise; it is, at times, a place of research into the pedagogical, sociological and political dimensions of improvisative practice; an excuse to bring over practitioners whose work I am excited about; and a place to play.”

Han-earl Park, January 18, 2009: ‘Lab report January 12th 2009: healthy disrespect for the comfort zone’

“I’ve been prone to sports metaphors in the past, but Murray [Campbell] came up with a new one: table tennis. A great game of table tennis is not one that you score points, but in which all your resources—your body, your mind, your training—tells you one thing, but circumstances outwit you. You reach for the ball, but it ball heads in a completely different direction. You loose a point, but you go wow, how did that happen?”

Veronica Tadman, January 18, 2009: ‘Lab report January 12th 2009: detoxes really do work’

“I cannot quite figure out what was the key factor that made this months Lab stand out above the rest: Was it Murray [Campbell]? Was it the large crowd? The press release that constantly went on about a party?”

Han-earl Park, December 16, 2008: ‘Lab report December 9th 2008: when is a cliché a cliché’

“Are my gestures the same size? are my ideas-per-minute constant? I think, on a good day, on the microscopic level, my playing exhibits (complex / interesting / infuriating / contradictory) variation, but I fear that, on a macroscopic level, it’s often (simple / boring / predictable / coherent) uniformity that rules the day. Am I getting too comfortable in this space?”

Kevin Terry, November 24, 2008: ‘Lab report November 10th 2008: mindful auto-pilot nonsense’

“The aspiration for this month’s Lab (though I admit I decided on it less that five minutes before playing) was to play quasi-logically; pick a strategy and don’t budge… So I decide early on… to shadow Andrea [Bonino] and try to limit myself to playing while he isn’t. This is then complemented/complicated by playing pianissimo lyrically when he is playing. This is maintained throughout.”

Han-earl Park, November 20, 2008: ‘Lab report November 10th 2008: out of my depth’

“…By and large, if my adrenaline-choice-machine was doing anything, it was always looking for the nearest, most convenient route, avoiding interesting, circuitous options—the ones that lead off-the-edge into ugly-beutiful spaces and serendipitous-contradictory relationships.”

Veronica Tadman, November 19, 2008: ‘Lab report November 10th 2008: the rockstar wannabes’

“…As the only performer that doesn’t have an instrument that is material to hide behind, I often feel exposed and perhaps somewhat uncomfortable; this has consequently had a knock-on affect on my performance. However, not so much this month.”

Han-earl Park, October 16, 2008: ‘Lab report October 9th 2008: being paul desmond’

“Searching for a way to operate in this group, I was trying to reach Braxton’s Desmond in my musical personality (i.e. carefully considering many choices, but selectively executing only a small number of them). And that’s not a position I’ve tried to occupy in a long time…. It turned out, however, to be an interesting scheme for generating tactics in real-time, if not one that I feel compelled to return to.”

Tony O’Connor, July 30, 2008: ‘Lab report July 10th 2008: consequences of a noisy head’

“Perhaps it would be more accurate to say that the insurmountable difficulties of the situation forced my mind to give up and get on with it…. The problem, I think, is that this type of improvisation should be an immediate response, and every time a thought gets in the way, it puts a filter between the event and the response. There are times in the first piece where this barrier breaks down, like the strange antiphony section, but mostly I was just quietly panicking along to my own internal monologue. ‘An E major? What are you THINKING!? Oh great, some more string noise, yeah, that’ll win them over… Muppet.’”

Han-earl Park, July 25, 2008: ‘Lab report July 10th 2008: fitting the square piece into that triangular hole’

“You know… that you’ve lost the game in improvisation when you’re preempting the music. You don’t want to be thinking this is how it should be, goddamnit, and I will fit that square piece into that triangular hole. Much more fruitful is to approach the problem almost like resource management: given our context, what can we do? given our current location, where can we go? given where we’ve been, how we’ve travelled, what exciting places could this route(s) lead us? This becomes a question of possibilities—what we can make of what we have (and who we are).”

Melanie L. Marshall, July 7, 2008: ‘Lab report June 12th 2008: thoughts of a newbie improviser’

“Now I know what goes through a newbie improviser’s head, or at least through this newbie’s head: sheer terror.”

Han-earl Park, June 26, 2008: ‘Lab report June 12th 2008: being the odd-one-out’

“Secondary problem with this strategy: although ‘having plenty of time to think about my re-entrance’ is indeed a luxury, like a lot of ‘prepared means’, they come with Improviser’s Hazard No. 697: exactly when would be a good time to act?”

Eoin Callery, June 17, 2008: ‘Lab report June 12th 2008: noisiest “hoedown”’

“A special mention must be made of the vocal talents of two heavily intoxicated eastern european (they never quite managed to explain exactly where they were from!) who entered the fray at various points. People may say that you could never perform something like Zappa’s ‘Lumpy Gravy’ live—well given the right balance of whatever they were on, they may decide to stage it yet….”

My thanks also to all the guest artists who have shared the stage with us, generously contributing to, and transforming, this practice. There’s too many names to mention, but I’d like to thank, in particular, two club-runners, Bruce Coates (who with Sarah O’Halloran and I kicked-off Stet Lab in November ’07) and Mike Hurley for their advice, cautionary tales and encouragement; to Murray Campbell, Franziska Schroeder and John Godfrey who took time out of their busy schedules, and stepped-up when others would/could not; and to Corey Mwamba, Ian Smith, Justin Yang and Alex Hawkins for encouraging words, and an unwavering belief in grass-roots music organizations. Special thanks to Paul Dunmall, Mark Sanders and Don Malone; heavy-hitters who believed in the Lab enough to participate with neophyte improvisers in what must be, by their standards, a low-key event.

Kudos to Jesse Ronneau for supporting improvised music, and the aims of the Lab in particular, during his time in Cork. I apologize for the many whose name I’ve not listed, but y’all have my warmest thanks, and my sincerest admiration for your contributions—we are a better space for it!

Of course, the biggest thanks go to everyone who participated as listener (and I am thinking in particular of the regulars who come every month!), and to those brave ones who jump-in the deep-end!

Signing-off as curator: Thanks, thanks, thanks and thanks to y’all!

BTW, some of my observations about running this space around the half-way point of my tenure as curator are at ‘Lab report 2007-2009: how to run an improvised music club’.

Han-earl Park was making good interesting sounds on guitar and pedals and stuff; Kevin Terry played the cello, what a lovely sound, and later Jesse Ronneau found some fun wacky stuff to do with it; Anthony O’Connor did some cool bendy things to his bass guitar; and vocalist Veronica Tadman made some sweet vocal shreeps that I thought people only did in the privacy of their own home.

And then the friendly, encouraging folk there drew me into the session. You can listen to that if you want.

I played with Korhan Erel and Kevin Terry. Korhan seemed to be playing something like a mobile phone and a Wii handset with the computer. I don’t know what he was doing, but he did it well! Kevin was playing something I could recognise as an instrument, namely a guitar. A lovely encouraging steady stream of things I could recognise as notes. I played some stuff that I couldn’t recognise as a tune, but the audience seemed to recognise it as valid, cos they clapped, and even laughed once or twice at the funny bits!

It was my first time (can’t ya tell?!).

It was fun at the time, but was it music? I’m going along again this Monday to listen, enjoy and learn. And I’ll leave the melodica at home.

In the words of my 16 yr old Liam, when he had a listen to the Stet Lab recording: “It’s like a club where you and your cronies can get together and make weird noises.”

Korhan Erel, Jesse Ronneau, Han-earl Park and Veronica Tadman (photo: © 2010 Julia Healy)

Thanks to Korhan Erel for performing, and to everyone who played on the night (Ruti Lachs, Tony O’Connor, Han-earl Park, Jesse Ronneau, Veronica Tadman and Kevin Terry) including newcomer to the Stet Lab stage and old-timers. Special thanks to Kevin for refereeing on the night, Veronica for MCing, and to photographer Julia Healy [see the photographs (new window)…].

Last but not least, thanks to all who, despite adverse meteorological conditions, came to support this event. We couldn’t do this without you!

As with all the recordings since December 2008, this month’s recordings are covered under the Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. [More info…]

The evening will also mark the second appearance by the trio of Han-earl Park (guitar), Jesse Ronneau (double bass) and Veronica Tadman (voice).

Should be a good one. We hope to see y’all there!

Stet Lab featuring Korhan Erel

Monday, 11 January 2010

9:00 pm (doors: 8:45 pm)

Upstairs @ The Roundy [map…]
Castle Street
Cork, Ireland

€10 (€5)

Stet Lab kicks off the new year upstairs at The Roundy, Castle Street, Cork, Ireland on Monday, 11 January 2010. This month’s Stet Lab introduces to Ireland, the Istanbul-based electronic musician, computer artist and improviser Korhan Erel.

Those who have attended Stet Lab events will have seen many electronic performers on stage, but Korhan Erel is one of a kind. Erel’s work is well known within the experimental and electronic music scenes and with the international improvised music community. Approaching his computer-based performances as a musician, performer and instrumentalist, he avoids the easy trap of over-clouding the sound field with layers and overpopulating the frequency spectra, allowing space for other performers. Radically rethinking the laptop, in his hands it becomes, according to Erel, the “sound body and resonator,” whilst the controller is “the exciter.”

Erel is a pioneer of the free improvisation scene in Istanbul, founding the ensemble Islak Köpek, and releasing the first Turkish free improvisation recording in December 2008. His work  has been released on the re:konstruKt label; he has performed at STEIM (Amsterdam), and has performed with Le Quan Ninh, Kirstie Simpson, Karlheinz Essl, Nora Volkova Ensemble, Markus Wenninger, Attila Dora, Artur Vidal, Sebastien Branche, Ecotone Experimental Theater, Mary Margaret Moore, Richard Nunns, Christian Asplund, Oguz Büyükberber, Umut Caglar, Robert Reigle, Sevket Akinci, Kevin William Davis, Dilek Acay, Dirk Stromberg, Volkan Terzioglu, Erdem Helvacioglu, Elektronik Kumpanya and Tolga Tüzün.

This month also sees the return of the trio of Cork-based improvisers, Han-earl Park (guitar), Jesse Ronneau (double bass) and Veronica Tadman (voice), adding an analogue contrast to the digital main act.

The event will begin at 9:00 pm (doors open at 8:45 pm) and entry is €10 (€5).

Stet Lab will return on Monday, 8 February 2010 featuring drummer Evan Dorrian from Canberra, Australia.

the performers

Korhan Erel: computer and electronics musician, performer, improviser, composer.

Turkish composer / improvisor based in Istanbul. He is a founding member of Islak Kopek, Turkey’s pioneer free improvisation group. He performed and had compositions played in radios, festivals in Turkey, Austria, Australia, Holland and Germany.

Korhan approaches computer performances from a conventional instrument approach. He refrains from using many sound layers and frequency ranges in order to leave space for acoustic and electric instruments he plays with. He also plays melodica and Cracklebox in ensemble performances. For his solo performances, he augments the computer with other sound sources, such as analog electronics (modular synths, guitar effects, oscillators, digital effects). He plays his computer instruments similar to a conventional instrument player—the laptop is the “sound body” and the “resonators,” the controllers are the “exciters”. The screen is occasionally used for monitoring software status and is not used as a part of the performance, thus avoiding the typical look of the laptop musician, staring at the screen all throughout a performance. He uses Wiimotes, and a Kaosspad 2 as the “fretboards” for his instrument.

Korhan’s compositions blend industrial sounds, found sounds, abstract sound textures and acoustic instruments into sound collages. He is currently working on new instrument designs on Audiomulch that will enable him to create instant compositions and sound collages for solo and group performances as well as playing with dancers, video artists. One such project is called Ses Duvari, a collaboration with video artist Ilknur Büyükberber.

Korhan has been recording with Islak Köpek and other improvisers since 2006 and plays on the following releases:

Islak Köpek / Islak Köpek – A.K. Müzik (www.akmuzik.com.tr)

Umut Caglar & Korhan Erel – Music for Walkie-Talkies #2 (www.rekonstrukt.com)

Oğuz Büyükberber, Umut Çağlar, Korhan Erel, Florent Merlet – twentyeight-twelve-twothousandandeight (www.rekonstrukt.com)

Korhan has played with the following artists:

Le Quan Ninh, Kirstie Simpson, Karlheinz Essl, Nora Volkova Ensemble, Markus Wenninger, Attila Dora, Artur Vidal, Sebastien Branche, Ecotone Experimental Theater, Mary Margaret Moore, Richard Nunns, Christian Asplund, Oguz Büyükberber, Umut Caglar, Robert Reigle, Sevket Akinci, Kevin William Davis, Dilek Acay, Dirk Stromberg, Volkan Terzioglu, Erdem Helvacioglu, Elektronik Kumpanya, Tolga Tüzün.

Han-earl Park works from/within/around the traditions of idiom-agnostic, experimental improvised musics, sometimes engineering theater, sometimes inventing ritual. He prefers collaborative, multi-authored contexts, and has worked with animators, film makers, poets, theater and mime performers, dancers and installation artists. As a musician (guitar, banjo, bass guitar, piano, electronics and software) he has performed in clubs, theaters, art galleries, concert halls, and (ad-hoc) alternative spaces in Denmark, England, Ireland, The Netherlands, Scotland and the USA.

He is involved in ongoing collaborations with Bruce Coates, and with Franziska Schroeder, fifteen year long associations with Alex Fiennes and Murray Campbell, and has performed with Ishmael Wadada Leo Smith, George E. Lewis, J. D. Parran, Paul Dunmall, Pauline Oliveros, Kato Hideki, Mark Sanders, Chick Lyall, Jan Langedijk, Stu Ritchie, Koen Nutters, Pedro Rebelo, Elspeth Murray, Mark Trayle and Hannes Raffaseder. He is also the constructor of io 0.0.1 beta, an interactive musical artifact, and cofounder of the Church of Sonology.

Park is a recipient of grants from the Arts Council of Ireland, and a recipient of the Ahmanson Foundation Scholarship and the Calarts Scholarship. He has appeared at festivals including Sonic Acts (Amsterdam), the Center for Experiments in Art, Information and Technology Festival (California), dialogues festival (Edinburgh), Sonorities (Belfast) and VAIN Live Art (Oxford). In addition to numerous self-released CDs, his work has been released by Owlhouse Recordings, frimp.co.uk and Frog Peak Music. He has performed live on Resonance FM (London) and on Drift Radio (at mediascot.org), and his recordings have been featured on Kalvos and Damian’s New Music Bazaar (Vermont), and You Are Hear (at www.youarehear.co.uk) which was selected as Critics’ Choice by The Independent (UK).

Additionally, Park founded and curates Stet Lab, a monthly improvised music space in Cork, Ireland, and teaches improvisation at the UCC Department of Music.

Jesse Ronneau is an award winning composer and improviser specializing in experimental acoustic and electro-acoustic music, specifically music using explorative instrumental techniques and live-processing. Jesse received degrees in Composition from the University of Cincinnati, Roosevelt University, and Northwestern University. His works have been performed (and continue to be performed) extensively throughout Continental Europe, the UK, Ireland and the US. He is currently a lecturer of composition at University College Cork.

We have yet to receive final confirmation on the venue, but this is likely to take place upstairs @ The Roundy, Castle Street, Cork, Ireland. To be informed of any last minute changes and future events, please join the Stet Lab – announce, or subscribe to the web feed (news only or all blog posts). [More info…]

updates:

12-16-09 Confirmation received from the venue. Updated info here and in the performance diary.

In addition, The Real-Time Company (for the Ad-Hoc Association) of… guitarists Han-earl Park and Kevin Terry will open the event.

It’ll be an exciting evening of real-time mutations and hybrids. Stet Lab would like to thank all who participated (performers, audience and behind-the-scenes helpers) over the last two years. Hope to see you over the next coming months!

about Stet Lab Year Three

Stet Lab (Cork’s monthly improvised music event) enters its third year (details below)!

To be informed of future events, please join Stet Lab – announce, or subscribe to the web feed (news only or all blog posts). [More info…]

Tuesday, November 10, 2009

Upstairs @ The Roundy, Castle Street, Cork, Ireland
9:00 pm (doors: 8:45 pm)
Admission: €10/5.

Stet Lab’s third birthday! Featuring Filario Farinoppo: Dario Fariello (saxophones, viola, electronics and little instruments), Filippo Giuffrè (guitar and electronics) and Antonio D’Intino (bass, electronics and little instruments), plus The Real-Time Company (for the Ad-Hoc Association) of… Han-earl Park and Kevin Terry (guitars).

Monday, December 7, 2009

Upstairs @ The Roundy
9:00 pm (doors: 8:45 pm)
Admission: €10/5.

Me, Bailey; You, Parker: Justin Yang (saxophones) with Han-earl Park (guitar), plus The Real-Time Company (for the Ad-Hoc Association) of… Susan Geaney (flute), Marian Murray (violin) and Veronica Tadman (voice).

Monday, January 11, 2010

Upstairs @ The Roundy (TBC)
9:00 pm

Featuring Korhan Erel (electronics). Details to follow….

Monday, February 8, 2010

Upstairs @ The Roundy (TBC)
9:00 pm

Featuring Evan Dorrian (drums). Details to follow….

Monday, March 8, 2010

Upstairs @ The Roundy (TBC)
9:00 pm

Featuring Paul Stapleton (new musical instruments / sound sculptures). Details to follow….

about Stet Lab

Since November 2007, Stet Lab has successfully brought together improvising musicians with varied experiences and from far afield. Cork, Ireland’s monthly improvised music event, Stet Lab is a space in which improvisers (novice, veteran; student, teacher; part- or full-time; amateur, professional; local or visitor) can meet, play and learn from one another.

about Stet Lab: Year Two

Looking back at the 2008/9 season, Stet Lab founder and curator, Han-earl Park says, “Stet Lab’s second year has been a triumph. We’ve been privileged to have hosted such a variety of improvising musicians: veteran of the international improvisation scene, Paul Dunmall, heavy-hitters such as Mark Sanders, the extraordinary Franziska Schroeder, the dramatic Katie O’Looney, the virtuoso Jamie Smith, and the… indescribable Jonny Marks. It’s also been a time to renew musical relationships with the mutant fiddle-playing of Murray Campbell, and the Cornelius-Cardew-meets-Joe-Harriott sound world of Bruce Coates.

“And we’ve witnessed the real burgeoning of young, local improvisers. The year has been a success beyond what we could have hoped for when we entered year two back in November [2008], and I look forward to musical interactions above-and-beyond.”

what to expect: Stet Lab Year Three

The 2009/2010 season promises to expand and diversify the improvisative geo-politics of Stet Lab. November will see the Lab welcome Filario Farinoppo—a trio of improvisers from Bologna, Italy—and the December event features the Californian composer-performer Justin Yang. Through 2010, the Lab will host visits by improvisers including Paul Stapleton (N. Ireland), Alexander Hawkins (England), Korhan Erel (Turkey) and Evan Dorrian (Australia).