两人音乐组合：伊芙琳伊芙琳，在amanda palmer 的乐队the dresden dolls和Jason webley的帮助下，于2007年以两个连体孪生姐妹的形象出现在大家眼前。
根据amanda palmer 的myspace描述，大约一年前，她和Jason webley收到了一份最不寻常的个人资料：从未见过的-连体孪生姐妹艺术家，“伊芙琳和伊芙琳”。她们既令人好奇，又充满魅力。因此他们开始回应这对 “双胞胎“，希望能吸引她们加入工作室。
这个乐队的音乐应该怎么形容呢？很难归纳，如果要说像是Andrews sisters(安德鲁斯姐妹)，那么除非Andrews sisters是听着新浪潮音乐，在马戏团长大的。
该乐队推出了一份彩色7 英寸vinyl，连同一张名为”大象大象“的小样，限量发行了1111张，很快销售一空。vinyl的内容记录了amanda 和 Jason与她们相遇的过程。最近，通过amanda palmer的博客，Jason评论说，将为伊芙琳伊芙琳发行一张专辑，但没有指明日期。

Salon Betty is the raucous and sleazy dark cabaret art rock project formed by singer, songwriter and performance artist Betty X during years of 1994 to 1997. Betty cites the idea as being born in Prague while she was living there during the winter of 1992, from a dream that she had about a lurid and crazy Czech hair salon — A den of decadence and art, ala John Waters and David Lynch. The music is typically described as new wave or punk, but has been coined as "gothabilly," "death lounge" and "deathabilly" by the band's frontwoman Betty X.
Jamie Hook, a reviewer for the The Stranger described the music as, "Neu-Wavo Ranchero" and referred to the fans as "Bettephiles." Salon Betty shows had a large cult following, where the fans would dress as Betty or other colorful characters from her songs such as "Courtney Hate" and bring food such as whipped cream, sausages and jello to throw during cues in songs. The shows were three quarter in the round and interactive. Live shows were often compared to My Life with the Thrill Kill Kult, Rocky Horror Picture Show meets GWAR by reviewers and critics.
After meeting with collaborator Hate Xaylor, in 1995, Betty started to experiment with darker themes and experiment with vocalizations, industrialized noises and tribal drumming. The side-project turned into a full time pursuit. There were many musicians that rotated through the band during its time; Rob "Spike" MacKusick (Faith and Disease), Paul "Pablo Diablo" MacKusick, Brian Castillo "aka pFrenz-C" (Jarboe of the Swans, In Gowan Ring), Raven Leigh , Ricky Ricardo, C. Barry Semple (Faith and Disease, The Swains) and Ty Pamfilof (Machina Candeo, Otto Pilate), among others.
Betty X is noted in the underground Seattle art/music scene for her guerrilla art and outrageous on-stage antics since her Salon Betty days. She often mimicked and mocked the audience into full participation. Inciting impromptu performance art riots including whipped cream, large sausages, blood, tampons. Topics included sexual liberation and feminist commentary of women's roles in society- from desperate, crazed housewives that kill their own- Susan Smith to ones that runaway "Arizona" and leave it all behind them in a daze of amnesia to critical "Generation of Victimazation" referring to America's unhealthy addiction to soaps, reality tv shows and Jerry Springer. "Bettephile" was written for and about the crazed fans that followed the band on tour. Salon Betty shows were theatrical often "tongue-in-cheek" with dark humor. Typical shows included several changes of props and costumes throughout the set and encouraging fans otherwise known as Bettephiles to participate in antics and to sing along and throw objects and fun during key parts of the songs.
Disbanded in 1997, Betty X went on to pursue a self-titled solo project. Reportedly one of the first bands to do a live show broadcast via the internet.

Jill Tracy will transport you into a seductive and magical realm far beyond the Everyday. The place where we wished we lived. A dark, elegant netherworld full of hidden passageways, wonder cabinets and opium dens. Of monsters, marvels and mayhem, you know it’s not safe here; but with Jill Tracy as your guide, you’ll be in no hurry to leave.
The San Francisco-based artist has garnered multiple awards and a devoted following for her evocative cinematic music, sophisticated lyrics, old-world glamour, and curious passion for strange tales. Hailed by critics as a “femme fatale for the thinking man,” Jill Tracy was described by NPR’s All Things Considered as "utterly intriguing... luring you into a magical kingdom solely of her creation." LA Weekly calls her "very distinctive and exciting."
As a youngster, Jill Tracy was drawn to classic suspense, film noir, and horror movie scores, which she cites today as some of her strongest influences. These passions are evident in her unusually cinematic performance style. Virtually self taught, her singular blend of dark, dreamy flourishes, hypnotic grooves and classical-cum-parlour piano conjures up shades of another era, but at the same time, the sound is shockingly new. She is as much Nick Cave as she is Erik Satie. As much David Bowie as she is Mata Hari. As much Bernard Herrmann as she is Robert Smith of The Cure.

The Dresden Dolls
今年最期待，还有别的可说么

Combine the smoky cellars of a Weimar-era cabaret with the rock n’ roll fury of Joan Jett, PJ Harvey and The Violent Femmes and you have a remote idea of what to expect when experiencing The Dresden Dolls.

Dresden Dolls由一对情侣Amanda Palmer和Brian Viglione组成，Amanda负责演唱和弹钢琴，Brian则是鼓手，他们来自美国波士顿，于独立摇滚中加入歌特与朋克元素，同时强调Lo-Fi。你会在唱片封面、MV、现场表演中发现，他们热衷于表演，并带有些许恶搞的意味，多少有些怪异的感觉。但在某些歌曲中，他们还是会抒情演绎的。这是他们的最新专辑。
The Dresden Dolls could never be accused of being shy and retiring, but on their second full-length, Yes, Virginia..., they sound more confident than ever, igniting their cabaret-rock with more crazed inventiveness and you-are-there immediacy. While there's nothing as instantly captivating as their first album's winsome "Coin-Operated Boy" or the defiant "Girl Anachronism," Yes, Virginia... is a more powerful and consistent set of songs overall, moving from musically and emotionally complex ballads like "Delilah" and the album closer, "Sing," to shouty, forceful numbers such as "Necessary Evil" and "Sex Changes." Sean Slade and Paul Kolderie's production adds to the bigger, more rock-inspired sound of the album, which invigorates Amanda Palmer's character sketches. While the highly theatrical, stylized sound of the Dresden Dolls might seem to be the substance of their music -- and, admittedly, it does draw the listener in right away -- it's the strong songwriting that makes the band truly impressive. Palmer's lyrics have a mix of sympathy and disdain for the people and subjects in her songs that makes them seem very honest in spite, or perhaps because of, their theatricality. On "Backstabber," she dismisses a "greedy little fit-haver" with a "God, I feel for you, fool" that's a perfect blend of fury and pity. She goes after and celebrates uncomfortable moments, whether it's cataloging the drunken haze of "My Alcoholic Friends" (which is one of the jauntiest, poppiest distillations of the Dolls' sound to date) or "First Orgasm," a bleak and almost creepily intimate ballad that's not at all jokey despite lines such as "I'm taking matters into my own hands" and "there won't be any second coming." Full of ambitious twists and turns, equally vulnerable and sarcastic, Yes, Virginia... alludes to the famous 1897 New York Sun editorial that reassured a little girl that Santa Claus exists for a reason: as arch and ironic as the Dresden Dolls might seem on the surface, inside their music, there's a surprising amount of hope and heart.