竇靖童首張原創專輯《Stone Cafe》，與國際知名音樂製作人：The Invisible Men、Heather Porcaro and Alec Dixon共同創作潛心靈感之作。西洋電影般的節奏訴說自己任性但不倡狂的音樂人生，世間最酷的叛逆是無法選擇不出生在光環照耀下，但能選擇只沐浴在自己散發的鎂光下直至羽翼鋒芒。她的花樣年華看似被世俗判定，其實早已與自己創作的音樂逃離世俗紛擾，寂寞是她的營養品，遊弋過無數虛空，轉瞬非黑即白。世界五彩斑斕，卻只沉溺在自己指間紛飛音符的溫柔裡。
“Jason Pebworth”、“George Astasio”及“Jonathan Christopher Shave”組成的The Invisible Men是格萊美的最佳創作組合，英倫創作風範的他們是格萊美獎最佳唱片製作人; Alex Dixon和她的丈夫Heather於美國一起從事音樂製作。由他們與Leah共同製作的全英文專輯《Stone Cafe》將會為樂迷帶來不一樣的感受。
在完成專輯MV拍攝後,童跟公司表示已經下定決心要繼續更多的創作，多給她安排音樂方面的工作，讓她能跟樂迷們更近距離接觸。
“Leah Dou”不再會是一個陌生的名字，在她選擇音樂的那一天起，竇靖童Leah Dou是華語樂壇最不可能忽視的人之一。頂著華語最強遺傳優勢的她，已經初露鋒芒，光榮綻放！

在一个未来反乌托邦世界里，外星生化人在地球着陆，释放出一股绿色的烟雾。这片迷雾实际上全由纳米尺寸的机器人构成，会随着人类的呼吸进入他们的神经系统，让他们立刻变得兴奋异常，跳起舞来。第一次接触就此发生。
也许没有什么地方比上海更能激发人们对于未来世界的幻想和焦虑了，鸭打鹅乐队的第二张专辑《未来俱乐部 CLVB ZVKVNFT》里描绘的，也正是这样一个科幻迷境。曾经被打上“数学摇滚”标签的他们在过去几年时间里已经完成了电气化的转变：完全抛弃吉他演奏，改用合成器和各色制作软件表达自己对于未来狂热而偏执的想象。韩涵和熊猫的合成器演奏时而危险阴暗，时而流光溢彩；33和JB组成的节奏组合，则平衡着凶猛冰冷的机械力量和温热的人类韵律。这张唱片中音乐内部本身的对立也正是乐队想要探索的主题：如何才能用机器的语言表达出复杂微妙的人类情感？科技进步之于人类文明究竟是良药还是倾覆？
《未来俱乐部 CLVB ZVKVNFT》一定程度上算是“概念唱片”——在创作过程中，深受《异形》系列电影、《辐射》等游戏影响的乐队发展出一个贯穿所有曲目的科幻故事。但这张唱片所涵盖的剧情可能显然不止一种：人类、外星人、人工智能之间的相互依赖和斗争，陌生事物和冲突带来的恐惧与兴奋，财富和科技带来的恩惠与诅咒等等，所有这些经典的主题足够每个人想象出属于他们自己的故事。鸭打鹅的音乐前所未有地低沉而尖锐，也更加细腻和富有层次感。同所有优秀的club一样，未来俱乐部如同黑客一般潜入人类躯体，阻断与“真实世界”的联系，用电气之声助你逃离这个星球，哪怕只是短短的一小时……
《未来俱乐部 CLVB ZVKVNFT》由大福唱片分别以数字、CD及双LP黑胶三种载体发行。鸭打鹅与DOC乐队的特别多媒体联合双城专场《林比克人》也将在上海和北京上演。鸭打鹅还将参加摩登天空今年秋天在芬兰及美国举办的音乐节。

Berlin-based contemporary composer Nils Frahm has built a steady reputation for his intimate, poignant piano recordings, yet they only reveal a fragment of what to expect from a Frahm concert. The artist’s heart lies in improvisation, in the magic of a moment where, inspired by the space and the audience, his fingers create new compositions loosely based around his familiar melodies.

Spaces is an ode to the joy of live performance. It expresses Frahm’s love for experimentation and answers the call from his fans for a record that truly reflects what they witness during his concerts. Breaking the convention of a traditional live release, the album was recorded over the course of two years in different locations and on various media, including old portable reel-to-reel recorders and cassette decks. These moments were later pieced together in his Durton Studio for what Frahm refers to as a collage of field recordings rather than a live album.

Spaces includes surprises such as the sound of a toilet brush banging on piano strings to create a dub-sounding track. The decision to select takes that include the sounds of people coughing and cell phones ringing make clear that his audience is an integral part of every performance. In his own words: “What I love most about playing in front of people has something to do with a certain kind of energy exchange. The attention and appreciation of my audience feeds back into my playing. It really seems as if there is a true and equal give and take between performer and listener, making me aware of how much I depend on my audience. And since the audience is different every night, the music being played will differ, too. Every space I performed in has its own magic and spirit.”

The album was mastered by the gifted hands of Mandy Parnell; its November release will be preceded by a string of West Coast shows in late September and celebrated with a special concert in New York City on November 25th.