Borderline Ballroom


bb-poster15Friday, October 24, 2008
7:30pm until 10:30pm

The Chapel, Christchurch Music Centre, 140 Barbadoes St,

presented in association with the Borderline Ballroom:

175 EAST

$ 20/10

“Forget what you have heard about modern composition/art music being a tuneless music, this is music bursting with life: joyous, demanding, exploratory, perplexing, occasionally irritating and phenomenally generous in its rewards. ”

Currently on a national tour, 175 East make their first Christchurch appearance in 4 years in a double bill with Silencio.


175 EAST

“These concerts feature the welcome return of our good friends Johnny Chang (violin/viola) and Richard Haynes (clarinets) and we’re also pleased to have Dylan Lardelli (guitar) as a guest performer, something we’ve been trying to organize for some time.

Unlike some musical ensembles who’ve recently announced their new programmes, we’re proud to say that—last time we looked—all of the composers whose music we’re playing are alive, and most of them are New Zealanders. The oldest warhorse in the concerts dates from 1986 and our October programme includes the world premieres of five pieces, four of them written especially for 175 East.

Those four pieces, all scored for the full 175 East ensemble are:

‘Chamber Concerto’ by Christchurch composer Patrick Shepherd.

‘picnic at limbo ledge’, written by Tim Bowman and inspired by the paintings of Bill Hammond, whose ‘Picnic 2’ adorns our concert poster.

‘To Exist, Press The Green Button’ a visceral piece by young Irish composer Ann Cleare

‘ …eran volumen terrenal, sonido…’ by John Croft which features cellist Katherine Hebley.

As well as these substantial pieces there’s Christopher Fox’s ‘schwebende Zeit’ which features Dylan Lardelli on electric guitar and EBow, Alexandra Hay’s beautiful clarinet duet ‘part/s’, the New Zealand premiere of Salvatore Sciarrino’s study in shaded noise ‘Esplorazione del bianco II’, Pat Shepherd’s bass clarinet solo ‘lick’ and Chris Watson’s intricate trio ‘…vers libre…’

A real feast of new music.”

More details on the music in the concert and its composers can be found here:



Silencio Ensemble will be performing the second of three concerts of newly commissioned work by local composers. Nine composers from a variety of jazz and classical backgrounds have composed new works for these concerts, which specifically focus on Canterbury composition.

The composers for this first series are: Chris Cree-Brown, Tom Rainey, Chris Adams, Reuben Derrick, Michael Bell, Clemency Gilmour, Catherine Wells, Alex van den Broek and Chris Reddington.

The emphasis of this project is to help enrich contemporary composition in Canterbury by bridging the ensemble with the work of local composers and to present them to a variety of new audiences.

Borderline Ballroom


bb-poster14Thursday, October 9, 2008
8:00pm until 11:30pm

the BORDERLINE BALLROOM this month builds an appropriately star-studded nest for the burning phoenix of one of the giants of the NZ underground, Birchville Cat Motel, who after this gig’s last rumbles have shaken the Media Club’s crumbling walls, will henceforth be known by another name entirely. Making dark and ecstatic merriment among the ashes are fellow Wellingtonian, Pseudoarcana label boss, and Jewelled Antler alumni Antony ‘AM’ Milton, with his first Christchurch performance in 12 years, and the first return NZ performance by UK expatriate drone luminary and Chc prodigal son Peter Wright, whose homecoming, if one were being romantic, probably underlines something fairly undeniable about the burgeoning coming-of-age of NZ sound culture. Come and celebrate the never-to-be-repeated with us…


Billowing clouds of metal filings and superheated carbon signal the closing of the Birchville Cat Motel chapter of Campbell Kneale’s unmusical career at the Borderline Ballroom on the 9th of October. The long time conjuror of all things godallmighty kisses goodbye to the name that has served him well over the past decade and graced more album covers than there are Jimi Hendrix compilations.
Known amongst bedroom nerds, collector-scum, and fugitives from taste for a brand of slumberpunk hung heavy with firepower yet lighter than dreams. Birchville Cat Motel has worn the sharp edges of audiences
hearing range all over the world… and now it’s Christchurch’s turn to wake up in a world without reverb.


New Zealander Antony Milton has been making records, exhibiting sound installations and performing live under various nom de plumes (A.M, The Nether Dawn, Paintings of Windows, Mrtyu etc) since the early 1990s. He is also the curator of the PseudoArcana record label, and
besides playing solo is a member of the bands The Stumps, Glory Fckn Sun and With Throats As Fine As Needles. A recurring theme in Milton’s work is an investigation of ‘place’ and ‘presence’ and the ways in which these function within the representational realm of recorded sound. Favourite recording environments include abandoned WWII military bunkers, caves, and overlooked urban wildernesses. With releases on underground labels such as Jewelled Antler, Last Visible Dog, 20 Buck Spin and Celebrate Psi Phenomenon Milton’s work is situated at some weird junction between electroacoustic composition, folk music, and the more psychedelic end of the ‘noise’ spectrum…

Using predominantly analogue sources (tape loops, field recordings, amplified resonant objects, voice and guitar) Milton’s performances have a high degree of intimacy and commonly range from the gestural and nuanced through to the visceral and ecstatic.


Over the course of a decade, Wright has etched his name in glass in the annals of drone-world superstardom. Alongside Phil Nilblock, Robert Horton, and Tom Carter, Peter Wright is on top of the drone music world, both in the sheer amount of astounding music he creates,
but also the effortlessly way he makes sounds that are completely indecipherable but strangely familiar.
Words like ‘atonal’ and ‘avant-garde’ come to mind when contemplating Wright’s sound but such terms are misleading when his music remains so accessible despite its experimental character. Wright first started playing music semi-seriously in Christchurch during 1990, recording un-tutored noise-pop on a four track. In 1991 he formed TMA-1 with Jaemz Robinson and Richard Calder, and this group started the cassette label kRkRkRk which issued TMA-1 and associated recordings to the general ignorance of much of the Christchurch population for many years. Following several song-based solo projects Wright’s music started to take a more abstract hue around 1996, finally culminating in a more refined guitar-based drone sound that he has worked with almost continuously since the late 90s. After several self released CDrs on his Apoplexy label, Wright moved to the UK and had his first ‘proper’ CD release in 2003 on US label Last Visible Dog, followed by a string of CDs issued on various US and European imprints. In this first performance since returning to NZ, Wright will continue to explore lengthy smudged and distorted drones using open chord electric 12 string guitars and an array of effects and environmental field recordings. Two new albums of material are scheduled for release in 2008-9 on US label Ultra Hard Gel.

Thurs 9 October

Borderline Ballroom

BB #17 Radio Acoustic

bb17Sunday, September 21, 2008
8:00pm until 12:00am


the BORDERLINE BALLROOM casts out live into the electromagnetic spectrum this month with a focus on experimental radio, broadcast as art, and artists engaging with the technology of radio. Fusing radio broadcast and live performance, the Borderline Ballroom #17 incorporates three live solo performers and the radio programmes Borderline Radio and A’Sides for Betaville, in a live to air collaboration with Lyttelton community broadcast station Volcano Radio 88:5FM, which has been operating in the port town just outside Christchurch since February 2008, and whose transmission area is locally bounded by the crater rim. The Borderline Ballroom #17 will be on-site at the Wunderbar in Lyttelton and simulcast live on the station’s airwaves from 8pm.

Sunday 21 September 2008
the Wunderbar, Lyttelton
8:00pm – $5, doorsales only



Adam Willetts is a musician and artist whose practice shifts casually between hi-tech and handcrafted as he explores relationships and interfaces between people, technology and popular culture. His use of DIY electronics, radio, computers and game controllers creates dynamic and surprising live performances that carefully balance elements of fragile beauty with violent eruptions of static, electromagnetic interference and feedback.

Adam has been performing and exhibiting throughout New Zealand and internationally since the late 1990s featuring at numerous festivals and exhibitions including Lines of Flight 2006 (Dunedin), TASIE 2006 (Beijing), S3D 2007 (Auckland), and Cloudland at ISEA 2008 (Singapore).

For September’s Borderline Ballroom Adam will be performing new work for synthesizers and electrosmog.

MELA (Lytn)

Mela is Helen Greenfield (Barnard’s Star, the LEDs, Miss Mercury)’s experimental audio/visual project which focuses on (revels in) the medium specific properties of a variety of obsolete media, and within which “layers of repeating melodies, gradually effected drones, and suitably unrecognisable beats create an imperfect but mellifluous musical microclimate.”

For this Borderline Ballroom performance Mela will be eschewing the seamless translation of digital imagery to debut her OHP-projected, hand-coloured, hand-made slides, layering them in vibrant colour fields which recall the exuberant, colour saturated direct-film paintings of Len Lye, and sonically and visually investigating the aesthetics of the constrained gesture and broken things, saying “maybe Mela more closely resembles her equipment at the moment… but who copies who?”

I-RORY (Chch)

I-Rory is an eclectic multi-instrumentalist, “a… dilettante, percussionist and improvising musician who plays the stereo.” Last seen supporting Philip Jeck at the Borderline Ballroom #13, for September’s performance he is promising to celebrate the politer pursuits of the season, to take listeners on “a sunday walk” and will be contemplating a “pitch invasion” with semi-automatic percussion, obstructed field recordings and attack, sustain, decay, feedback.

“Was a delight to absorb self in the digi-soup of I-rory. Using crude objects of both home-made and exotic qualities, I-rory evoked the sound plethorae of Zoviet France.”
-Matt Middleton


a radio show hosted by Peter Kirk every Sunday on Volcano Radio 88.5FM from 10pm – 12am, A’sides is radio in the classic tradition of late night experimental collage soundscape, a maverick creative broadcast practice begun on US college radio in the late 1970s, with precursors in earlier music/audio/collage works and sound experiments, whose prior local manifestations include Rotate Your State (RDU, 1991-2003), as well as various programs on the original Radio Lyttelton.

A’sides rides the drift of the late night dial toward a poetics of the medium, becoming a framework through which to listen in to listening, playing with radio as-playback, making audible the sound of broadcast and its sonic storage media. In its collaged craftings, found-cultural detritus jams with precious artifacts of high culture, the mp3 speaks to the tape loop and the gramophone, hand-manipulated op shop records of Russian folk songs and sea shanties (the record as readymade… the medium as the massage) bump tactilities and temporalities with recordings of historic avant-gardists speaking on the creative process, and live streaming of internet radio art projects.

for the Borderline Ballroom, A’sides promises as much de-mystification of its process as it promises further inscrutability, staging radio art as Dj set and live event, while retaining its intimacy of late night listening for those who understand that “the ears don’t have eyelids”

with many thanks to Volcano Radio, and to Matthew Ayton for technical support.

Borderline Ballroom


bb-poster13Thursday, August 28, 2008
7:30pm until 12:30am

the Borderline Ballroom presents:

an evening of deconstructed electro pop, spliced song-structures, voices fluttering like uncaged birds in digital ether & multi-instrumental melodic sublimity.

The Borderline Ballroom’s 16th event promises a dolly mixture of local and international artists, and a cornucopia of treats in store for discerning listeners: Japan’s finest avant pop, Ray Off’s sublime electro-acoustic outsider-virtuosity, Greg Malcom coaxing the guitar as multiple, expanded instrument into formerly unknown territories, as well as the debut solo performance from one of Christchurch’s more mysterious aural polymaths.


Japanese avant-songstress Tujiko Noriko has been widely heralded as the queen of Japanese electro-pop. Her songs, as dreamy as they are melodic, have drawn comparisons to Bjork, Mum and a number of other left of centre icons. Touring Australasia (with an appearance at Sydney Opera house along the way) to promote her new album, U, for her debut Christchurch performance, Noriko rides in on the back of a plethora of new works, all delicately assembled with her unique vocals adorning them. This show promises to be a night of evocative eclectic songs, delivered by one of Japan’s most original visionaries.

RAY OFF (Dunedin)

Ray Off is a glistening, trapezoidal cellular structure
where some of Dunedin’s most free-thinking musicians
sometimes gather to deposit their wild honey. Formed by Jim Currin in 2004, the band has moved through line-ups, form and format with restless zeal, as strikingly documented on the recent ‘Split The Lark’ triple cd which
captured one year (2006) in the life of a group headed all
over the place. Ray Off in Christchurch will be a quartet with Currin (guitar, cello and voice), Afke Riemersma (voice, marimba and drums), Toki Wilson (drums, guitar, toys) and Motoko Kikkawa (violin, voice). Expect delicacy, sweetness and gob-smacking strangeness.


“Greg Malcolm is a longtime stalwart of exciting NZ guitar-work who has been criminally under-appreciated for too long. Through all of this he has single-mindedly developed a highly individual musical vocabulary, often employing multiple guitars simultaneously to generate drones and rhythms. This has culminated in the design of his own, multi-output ‘adapted guitar’.”
– Forced Exposure

“Malcolm has introduced a poetic new vocabulary into the lexicon of acoustic guitar playing”
– Edwin Pouncey/The Wire

lIlIlIlI (Chch)


Thurs 28th August

Tujiko Noriko’s Christchurch, NZ appearance has been facilitated in association with The High Street Project, Chch, and Rm 40, Brisbane. An enormous thankyou to all!

Borderline Ballroom

BB #15: experimental film programme WE CAN NOT EXIST IN THIS WORLD ALONE

exp-filmWednesday, July 30, 2008
7:30pm until 9:30pm

The Borderline Ballroom presents:


a selection of 16mm experimental artist films by Ben Rivers (UK) and Ben Russell (US)

Separated for a lifetime of lifetimes by that vast dark body of Atlantic water, siblings-in-cinema Rivers and Russell have arrived on Austral-Pacific shores to spread their message of A Present Regained. Marching beneath the already-tattered banner of a New Modernism, the brothers Ben offer a glimpse of a somehow-brighter-tomorrow via the (16mm) lens of today. Drawn from the historic traditions of ethnography, documentary, and portraiture and operating under the guise of experimental cinema, the works in this program offer a prescription for weathering alone the gathering storm of global capitalism. From the sci-fi landscapes of Dubai to the frozen tundra of the Scottish highlands to the jungle wilds of Suriname; from the hermit clans of the British Isles to the noise-show enthusiasts of Rhode Island to the stand-up comedians of the Bardo Plane; these 10 films sketch a complex post-modern postmortem of a world in increasingly hopeful disarray.

Weds 30th July

Presented in person by the filmmakers at Neibelheim, basement space under SoFA Gallery in the South Quad of The Arts Centre, as part of their Australasian tour.

Ben & Ben’s Christchurch, NZ appearance has been facilitated in association with The Canterbury Film Society, University of Canterbury dept. of Theatre & Film Studies, and Static Mansion.



“His films play as fragments of stories, like the crumbly bits of dreams that cling to waking consciousness.” – Ed Halter, The Village Voice

Born 1972. Studied Fine Art at Falmouth School of Art. Co-founded and programmed Brighton Cinematheque from 1996-2006. He has exhibited at many international film festivals and galleries, winning various awards, including Tiger Award, IFF Rotterdam 2008. He has been the recipient of a number of commissions, most recently a London Artist’s Film and Video Award, for which he is completing two new works. Upcoming shows include solo show with Measure, London; ‘If’ Bloomberg Space, London; ‘Art With Strangers’ Turnpike Gallery, Leigh, and festival retrospective screenings in Ghent (Courtisane), Hull IFF and Hong Kong IFF.


Born 1976. Studied Art/Semiotics at Brown University and Film/Video/New Media at the School of the Art Institute of Chicago. An itinerant photographer, curator, and experimental film/videomaker his works have screened in spaces ranging from 14th Century Belgian monasteries to 17th Century East India Trading Co. buildings, police station basements to outdoor punk squats, Japanese cinematheques to Parisian storefronts, and the Sundance Film Festival to the Museum of Modern Art (solo). He has made films about the assassination of Abraham Lincoln, the exploration of Easter Island, the divining powers of Richard Pryor, and the end of the world. A Guggenheim award recipient, he began the Magic Lantern screening series in Providence, Rhode Island and currently resides in Chicago, Illinois, USA.


screening programme:

We The People
Ben Rivers, UK 2004, 1 min

Black and White Trypps Number Four
Ben Russell, USA 2008, 11 mins

Using a 35mm strip of motion picture slug featuring the recently deceased American comedian Richard Pryor, this extended Rorschach assault on the eyes moves out of a flickering chaos created by incompatible film gauges into a punchline involving historically incompatible racial stereotypes.

The Coming Race
Ben Rivers, UK 2006, 5 mins

Black and White Trypps Number Three
Ben Russell, USA 2007, 12 mins

“…a filmic portrait of secular rapture that harks back to the great annunciation canvases of Titian and Caravaggio.”
– Michael Sicinski, Green-Cine

Shot during a performance by Rhode Island noise band Lightning Bolt, this film documents the transformation of a rock audience’s collective freak-out into a trance ritual of the highest spiritual order.

This Is My Land
Ben Rivers, UK 2006, 14 mins

Workers Leaving the Factory (Dubai)
Ben Russell, USA 2008, 8 mins

Dove Coup
Ben Rivers, UK 2007, 2 mins

Ben Russell, USA 2000, 7 mins

“One of the strangest films I have ever seen; its characters come and go as if they’re ‘primitives’ posing for the camera, either obeying or fighting an ethnographer’s controlling eye.”
– Fred Camper, Chicago Reader

Ah, Liberty!
Ben Rivers, UK 2008, 20 mins

“… in this rural, ethnographic portrait the artist unravels a thousand tones of each. How long does it take until this overflowing bath becomes a lake, until the simple forest drive (there is nothing simple here) transforms these children into airborne angels of light? There is a tender brutality at work here, nothing is polished or smooth or well rounded, instead the adventure of seeing is undertaken ready to fall and bruise, to be wounded by its search.”
– Jury Statement, International Film Festival Rotterdam

A celebratory portrait of a family’s place in the wilderness – living, working, playing on a farm throughout the seasons; free-range animals and children, junk and nature, all within the most sublime landscape. The work aims at a sense of freedom, the scale of which is reflected in the hand-processed Cinemascope format, and focuses on the youngest of the family to show us what’s what. There’s no particular story; beginning, middle or end, just fragments of lives lived.

Trypps #5 (Dubai)
Ben Russell, USA 2008, 3 mins

All films are 16mm
Note: these films use strobe effects

this event is one of a forthcoming series of Borderline Ballroom collaborative events which utilise a variety of venues in the city to present international and local experimental music and related media in Christchurch, NZ

Borderline Ballroom

the Borderline Ballroom #14: Black Boned Angel

bb-poster12Friday, June 13, 2008
7:30pm until 11:30pm

the Borderline Ballroom presents:


with DJs Cegeste and Avanc

Friday 13th June, 7:30 -11pm, $5 (door sales only)

The Media Club, 191 Armagh St, Christchurch, NZ

After a triptych of solo acts in May, this month the Borderline Ballroom travels to the outer regions of exploratory rock, playing host to the first NZ performance outside their home city by world-renowned Wellington/Lower Hutt-based doom/drone metal act Black Boned Angel, a band whose slow, cathartic, heavily repetitive guitar-based dronescapes have inspired descriptions as various as “uber-ambient doom-metal created from massively overdriven instruments… the aural equivalent of a tequila and opiates bender followed by a five-day crying jag”, “a Norwegian re-staging of Keiji Haino’s early Nijiumu rituals”,”what Tony Conrad… would have been, had he had a heart of metal”, “music that aspires to the quality of sculpture – it doesn’t so much move forward as fill up space”, and (by frontman Campbell Kneale himself) as “like Black Sabbath played at 16rpm”. June’s Borderline Ballroom also hosts the welcome return to Christchurch of slow-burning luminaries of NZ free-improvisation and exploratory multi-instrumental minutia, Sandoz Lab Technicians, and the local debut of Dunedin-based duo Alex MacKinnon and Lee Noyes, who together rejig the Southern city’s legacy of improvised noise music, as well as the stripped back drums-and-guitar setup, with a nuanced and incendiary intensity uniquely theirs.


Slower than slow, heavier than thou, Black Boned Angel have taken the ‘no fans’ end of the heavy metal spectrum to a kidney-churning new low. Refered to by none other than Terrorizer magazine as “The Heaviest Band on the Planet”. Perhaps the only band in New Zealand capable of levitating an audience with sheer volume, Lower Hutts Black Boned Angel have garnered a stink in the underground music thing for their near-cosmic brutality and transcendental post-Post-Sabbath droning. blurred, HEAVINESS. One seemingly unending, feedback-withered sludge-trudge of monosyllabic riff-mongery, and prehistoric drum plod… and YES, that is supposed to be fashionable these days. Kids huh?

A mere duo, Black Boned Angel came together in 2004, and revolve around the core of guitarist/drummer Campbell Kneale and, second guitarist James Kirk, both long-distance runners in New Zealands experimental music scene who have made more records than Dave Dobyn and The Exponents combined. Unfortunately, they still have plenty left.


Key figures in the New Zealand ‘Free Noise’ scene since the early 1990s, Tim Cornelius, James Kirk, Nathan Thompson are a multi-instrumental free-improvising trio.

They bring the trademark Sandoz confection of ethno – folk, lethargic raga rock, ambient jazz and whatever else strikes their fancy, so fully realized by now that they don’t sound like anyone but their own bad selves and the quality is so superlative that it induces the good kind o’gooseflesh.

In the middle of the intoxicating amalgam there’s a sense of beauty and isolation that is much more seducing than it is alienating.

Layers of restrained feedback are placed against a tapestry of improvised drums and subtle fogbanks of organ, but it’s not the instruments applied that’s important here. Rather the filmic, organic, droning and improvisational feel that comes wrapped around the glacial and stretched out notes.


“…their recent performance at Arc Cafe had a supercharged intensity, a combination of high energy noise rock guitar and consistently inventive free jazz drumming. A sonic blast of guitar/drum improvisation in some ways reminiscent of Rudolph Grey and the Blue Humans.”

-Peter Stapleton.

“…Next was the NEU BLOOD. The northern lights. The boys from up north who came, swore and concured. Alex McKinnon, acolyte zealator of the free-noise brick-laying brotherhood and Lee Noyes. What a stunning din!! Lee Noyes played drums like a 50 year old african american super-pro jazz legend! Absolutely blown the fug away bro!!! And Alex – he’s an absolute free-noise super-star. X factor uber-alles. We mean it. And so do they. It’s obvious – they’re aiming high : REAL high.”

-Matt Middleton


The Borderline Ballroom’s Cegeste plus guest DJ Avanc spin the appropriate tunes…

Borderline Ballroom

Philip Jeck (UK), Crude (Dunedin), I-Rory (Chc) with DJs Stanier Black-Five & snippet

bb-poster11THE BORDERLINE BALLROOM in association with ALT MUSIC presents

Philip Jeck (UK), Crude (Dunedin), I-Rory (Chc) with DJs Stanier Black-Five & snippet,

Wednesday 21st May – 7.30-11pm – $10 (door sales only)

at The Media Club, 191 Armagh St, Christchurch, NZ

Legendary UK turntablist Philip Jeck makes his New Zealand debut at this month’s Borderline Ballroom, supported by Dunedin DIY experimentalist, Crude and local improviser, I-Rory.


Fusing the turntable creativity of Christian Marclay with the sampling terrorism of Negativland, the UK’s Philip Jeck has been working with turntables and electronics since the early 80s. Using old vinyl and record players salvaged from junk shops, he plays these like musical instruments, using loops, lockgrooves, scratching, surface noise and disembodied fragments from forgotten vinyl to create his transfixing soundscapes.

Jeck is known for his captivating performances, such as Vinyl Requiem with Lol Sargent, a work for 180 1950s and 1960s record players. He has also made art installations using from 6 to 80 record players, such as “Off the Record” for the Sonic Boom exhibition at London’s Hayward Gallery.


Supporting Jeck is Dunedin-based Crude, aka Matt Middleton, one of New Zealand’s most diligent and prolific DIY experimentalists. Crude will be performing a set that marries here-and-now action with prepared elements, which promises to deliver heady brew of sci-fi synths, degraded bit-rate renderings, over-treated vocal works, bottles and other percussive items, face pulling and magneto-chug-u-lug.


Local input will be provided by I-Rory, a Christchurch dilettante, percussionist and improvising musician who plays the stereo. More than likely, he will be creating a shifty sound field of mud. But watch out, that mud is booby trapped! Expect amalgamated sound constructed from manipulations of a record player without records, possibly one with a record, pre-recorded recordings and live ephemera.


Accompanying proceedings is The Borderline Ballroom’s Stanier Black-Five plus guest DJ snippet. In the spirit of the evening’s turntablism, Stanier Black-Five’s sets will provide multi turntable interludes involving lockgrooves, modified records and other vinyl oddities, while snippet will be spinning sounds from the likes of the touch, ash and raster-noton labels.

Borderline Ballroom

Daniel Menche / Nomex / Stanier Black Five


Borderline Ballroom

Sam Hamilton / The Family


Borderline Ballroom

Mela / David Khan / Hal / Cegeste / I Rory