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Preview: Iowa Baseball Hosts #19 Oklahoma State for Weekend Series
Oklahoma State might also be #17, depending on your poll of choice. Whatever, they're good.
By GospelOfMax@GospelOfMax May 4, 2018, 8:06am CDT
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Anthony Vazquez-The Daily Iowan
Hey folks. I'm gonna preview this weekend's series against Oklahoma State in a bit, but before we get there, we have a few housekeeping notes that we need to talk about before we get there. We've got some good news, some bad news, and some much worse news.
Let's get the worst news out of the way first. As mentioned in the weekend recap after the Michigan series, Cole McDonald was removed from his start with an apparent elbow injury. There isn't any official news on this front, but this tidbit from Rick Heller's pregame interview on Wednesday is incredibly discouraging.
On Cole McDonald, here is what Rick Heller told @zach_w_mackey on the pregame show this afternoon. MRI Wednesday, doesn't sound good. #Hawkeyes pic.twitter.com/PzMYBvU428
— Dargan Southard (@Dargan_Southard) May 1, 2018
McDonald has been phenomenal as a Sunday starter all season, and if he needs Tommy John surgery again, he's likely to be out through most of next season as well, if not the whole thing. There isn't really anyone that figures to be able to step into his role as Sunday starter, but the most likely candidates are probably Trenton Wallace, who's been dealing with his own forearm tightness for about a month now, and Jack Dreyer. The problem here, of course, is that in 25 combined appearances, the two have thrown less than 40 total innings and will need to be stretched out unless Heller plans on using the hell out of the bullpen through the Big Ten Tournament and potentially Regionals.
The bad news: Iowa dropped a heartbreaker on Tuesday against Missouri, 17-16. The big problem here is that the Hawks held leads of 8-0 and 13-6 and squandered them both. The offense showed out, hitting six home runs, but after Trenton Wallace threw three shutout innings, not a soul in the 'pen was particularly serviceable. It happens sometimes, but rarely do you see six guys give up a bunch of runs like you saw on Tuesday. Here's the box score. It sure is something to behold.
And now, for the best news I'm going to give you before we get into OK State. Iowa's contest against Western Illinois on Wednesday was rained out and will not be made up. Why is this such good news? With an RPI of near 300, playing the Leathernecks is a no-win situation for Iowa - the Hawks win, and cool, ya beat a team that stinks. If they lose? That's an RPI killer. In not having to risk it on Wednesday, the Hawkeyes are winners.
The only problem is that it's a scheduled home-and-home this season, and the Hawks travel to Macomb next week to play WIU. Maybe that'll get rained out too.
Alright, now that we got all of that out of the way, it's time to talk about Iowa's series this weekend. Oklahoma State comes to town and after a slow start to the season, they're red hot since they began conference play. They're 15-3 in the Big 12, but they have lost four of their last five non-conference games, so they're by no means unbeatable. This weekend will be a great chance for Iowa to improve their RPI, and while this isn't a must-win series by any means (give that a read to find out where some national guys think Iowa stands now), winning a couple games would go a long way in solidifying them as a team inside the bubble for NCAAs. This will be Iowa's last chance at quality wins this season, with a one-off against WIU and a weekend series against both of the Big Ten's bottom feeders, Penn State and Northwestern, left. Basically, it'd be a nice boost to their non-conference schedule to see a couple more victories against good competition before they get into must-win territory against the bad competition.
Friday: 6:05 p.m. CT
Probables: LHP Nick Allgeyer (5-3, 2.18 ERA) vs. RHP Joe Lienhard (5-1, 4.10 ERA)
Saturday: 2:05 p.m. CT
Probables: RHP Brady Schanuel (5-6, 5.12 ERA) vs. LHP Carson Teel (6-2, 2.86 ERA)
Sunday: 12:05 p.m. CT
Probables: TBA vs. RHP Jonathan Heasley (3-3, 6.63 ERA)
Previewing Oklahoma State
Record: 27-15-1 Overall (15-3 Big 12)
Ranking: #17 (D1 Baseball), #19 (USA Today Coaches, Baseball America, NCBWA)
RPI: #25
If you need a name to watch, look no further than Colin Simpson, who's just preposterous at the plate. The junior is hitting .298 on the season with 14 home runs, 12 doubles, and 43 RBI. He's by far OSU's leader in home runs, and a big reason that they've hit 46 as a team this season (for reference, Iowa has hit 36, with seven of those coming in their most recent game against Mizzou). The Cowboys hit .263 as a team, which is pretty average, but their propensity for the long ball and hitting the balls to the gaps (90 doubles, nine triples as a team) has been what drives them.
On the mound, OSU is actually pretty pedestrian. They own a 4.67 ERA as a team, which definitely isn't impressive, and they don't have a standout that jumps off the page like a lot of the teams Iowa's faced this season. That said, they also don't have anyone who's performed that poorly this season, either. They have a few pitchers who have sub-3.00 ERAs, while they have a couple above 5.00. The pitcher Iowa has the best shot at beating up on this weekend is Sunday's starter Jonathan Heasley, who owns a 6.63 ERA after 11 starts. If McDonald weren't out for the Hawkeyes, I'd give Iowa a great chance at winning this game, but without him, it'll be intriguing to see what Iowa does on the mound to get through this game against solid competition.
Overall, this OK State team likely won't beat the Hawkeyes on the mound. Iowa's going to need Brady Schanuel's A-game this weekend after a few bad weekends and they'll likely need a staff-wide performance on Sunday. Ideally, Nick Allgeyer will go deep into Friday's ballgame, which has become the norm for him lately, as he almost always makes it to the seventh inning at this point in the season. If the arms can keep the Cowboys from putting up a bunch of runs, there's no reason to think Iowa couldn't win this series.
Let's get some quality wins, boys.
All of the games this weekend will be available on BTN Plus, and as per usual, you can catch them on the Hawkeye Radio Network where available.

redpajama_set_name: RedPajamaCommonCrawl


Yoshiyasu listened to Yoshiaki's words and watched her face.
All emotion had vanished from Yoshiaki's face, but a tremor filled her voice.
No, it isn't, thought Yoshiyasu.
Yoshiaki was trying to say Matsudaira was usurping Mogami by constructing the northern community.
But Yoshiyasu felt that was inaccurate. She did not think it; she felt it.
Yoshiaki was not talking about the Mogami clan being beholden to someone else.
…You just don't want to lose Komahime, do you?
Komahime had used her doomed destiny. In her desire for Mogami to face their destiny properly, she had taken her own life as an example and she was now a ghost who would disappear once she was cleansed of her regrets.
She would eventually disappear. And she would do so before Yoshiaki. It was her understanding of that which led Yoshiaki to say this. She understood it all too well, but that pain was driving her to this.
My sister and Yoshiyori were probably thinking something similar.
They had used their doomed destinies. Komahime had seen meaning in that and saved what she could, but things were different for those who were left behind. That was why Yoshiyori had told them to smile.
Yoshiaki remained expressionless. She was always smiling, but she was hiding her expression now.
…That's the same as crying.
She only had tears of regret for the person who had found meaning in moving out ahead and being lost.
The fox turned to face her, but she felt no fear in her heart.
Yoshiyasu finally realized why she had been placed in charge of the Mogami negotiations.
The vassal next to her and the salmon seemed to feel out of place and looked back and forth between Yoshiyasu and Yoshiaki, but Yoshiyasu ignored them.
At first, Yoshiaki did not understand what she had been told.
Her thoughts were currently on Komahime and Mogami's future. And the discussion should have led to what would happen if Mogami joined their proposed northern community.
She knew Yoshiyasu was not that shrewd, but someone could have put her up to it. So Yoshiaki made sure to be as suspicious as possible.
Yoshiaki moved on reflex and drew Onikiri.
…You have nothing left, do you!?
In the very instant she drew the sword, Yoshiaki cut Yoshiyasu.
That blade cut the hidden. It cut the people supporting the target rather than the target herself.
The ancient divine weapon Onikiri accurately sliced through Yoshiaki's "hidden side".
Adele opened her eyes after squeezing them shut.
When Yoshiaki had sent out her slash, Adele had been unable to even protect her face. That was half due to her proximity and half due to the speed of the strike.
But there was not even a scratch on her glasses.
Adele touched her own body while looking at Yoshiaki who had swung Onikiri in a horizontal line.
…Head: check. Stomach: check. Hips: check. Chest: …Oh, wait. I didn't have anything there in the first place.
Yoshiyasu simply stood there. The distant festival music washed over her back as she stared at Yoshiaki who had swung Onikiri at her.
Those people, sighed Yoshiyasu when she saw the ruckus on her sign frame, but she was somehow relieved to see that lively activity.
It had indeed been nice to have that noise drawing her focus after she had lost something.
Then she saw Yoshiaki returning Onikiri to its scabbard. The woman smiled bitterly.
She indicated Murasamemaru at her hip and Yoshiaki's bitter smile grew. She then looked at Yoshiyasu.
The salmon swam through the air while expressing its joy over receiving instructions from its master. And Yoshiaki asked a question as she watched it leave.
She had given them material to work with. I need to be more careful, thought Yoshiyasu.
She knew that perfectly well. In 1614 after Sekigahara, the Satomi clan lost its heir and lost its clanhood.
She had never expected the name of that Yoshiyasu to come up here.
…She really is a fool.
Yoshiaki knew that Mogami's heir, Mogami Yoshiyasu, died before inheriting the clan.
And due to the plotting of a treacherous retainer, Yoshiaki and Yoshiyasu were on poor terms and Yoshiyasu eventually committed suicide after being attacked by someone.
The Testament said they had originally gotten along well. And after Yoshiaki learned that their discord was due to a plot, he had wept when Yoshiyasu's head had arrived and he had searched out and punished the treacherous retainer.
That series of events was why Komahime had not also inherited the name of Mogami Yoshiyasu. She had certainly never expected someone to show up now and attempt to take Yoshiyasu's name.
Yoshiyasu knew it all and yet she still wished for the name. If she did inherit the name, she intended to handle it all herself.
Yoshiaki had considered it before. What would she have done if the Testament Union had insisted that Komahime also inherited the name of Mogami Yoshiyasu?
Yoshiaki continued with a bitter smile.
Masazumi breathed in and then out.
Those words reminded Masazumi of her mother.
She recalled her past in Mikawa.
Her mother had always cooked for her, did the laundry, and did other housework without saying anything about it. She had stayed by Masazumi's side when she had a cold, she had worried about Masazumi's father, and she had stayed by his side as well.
How much time had she spent with her mother? And how much of her mother's time had been spent on her?
She had something to say.
Yoshiaki paused for about three breaths.
They had their answer from Mogami.
In the meeting hall, Tenzou saw Masazumi's "judge" on the sign frame he shared with Mary.
…Sviet Rus and Mogami have both decided to expand their territory.
Their actions were correct in terms of the history recreation. But there was a difference from before.
Sviet Rus and Mogami would both "expand their territory" in accordance with the Testament descriptions. But they would not obey Hashiba's instructions or warnings even though Hashiba had conquered Edo and Satomi.
Both nations would set their sights on Matsudaira establishing their territory after Sekigahara and on the future northern community.
They were not cooperating in any obvious way in the present, but Musashi knew that the two nations would not support Hashiba and would ultimately fall in line with Musashi.
It was a pseudo-cooperation that looked to the future.
There were of course plenty of problems and one of those was especially large.
Sviet Rus was in the process of discussing that.
The Musashi group had been given chairs and waiters had lined up tea and snacks on a side table. When they looked around, they saw the Committee Heads, Saitou, Shigenaga, and even Kagekatsu standing in a circle and holding a quick meeting.
Tenzou could read their lips to grasp some of what they were saying.
Sviet Rus would no longer focus on Hashiba and would continue on to Sekigahara while expanding their territory and settling things through discussions as they had before. But that implied opposing and defying P.A. Oda and Hashiba who were holding Sviet Rus and Oushuu in check.
P.A. Oda was a powerful nation. They controlled the Testament Union now, they had a large aerial fleet, they had dragon line reactors, and they were served by many skilled commanders.
Currently, that nation held more than half of the Far East in their hand.
That was who Sviet Rus and Mogami would be making an enemy of.
That could only be called reckless, but they had a reason for doing so.
Tenzou showed Mary a sign frame. It displayed a map of the Far East. Long arrows started in the central Kinki region and extended to the west, north, and east. A few smaller arrows appeared as if to fill in the gaps.
The idiot turned Tenzou's way while he, Mitotsudaira, and Horizon ate a castella with a layer of adzuki beans.
Tenzou zoomed in separately on the K.P.A. Italia and Sviet Rus regions.
…Why does that piss me off so much!?
Then the idiot turned toward Mary and she smiled toward Tenzou.
…Why does that warm my heart so much!?
Nobunaga's assassination really is P.A. Oda's greatest turning point, thought Tenzou.
…That is the fall of a superpower's leader.
The time was approaching. Several events from an age beyond that were already being recreated.
"They will follow the different regions' history recreations to ensure they do not create an opening for others to interfere, right?" asked Mitotsudaira.
As soon as Tenzou said that, an embodiment of love with short sleeves, short pants, and glossy skin ran in from the corridor on the right. He spun around, clapped twice, and put on a carefree smile.
Tenzou felt the need to immediately point that out to prevent the damage against him. Mitotsudaira averted her gaze and the idiot and Horizon both glared at him, but Mary alone tilted her head.
Tenzou thought while looking to the Sviet Rus group. That's right, he realized before speaking his conclusion aloud.
The Kantou P.A. Oda group was on the move.
This page was last edited on 28 September 2016, at 03:46.


Honor System: For each meeting (starting tonight), submit the time you were actually here, rounded to the nearest half-hour (e.g. arrive at 3:44, submit 2 hrs; arrive 3:46, submit 1.5). FCP X Mentors add 1 hour to that.
Don't be too concerned if the clip changes aren't perfectly timed; next month we'll fix that.
Motion Templates: where are they?


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Nadia Ali (Urdu: نادیہ علی) (born 3 August 1980) is a Pakistani American singer-songwriter. Ali gained prominence in 2001 as the frontwoman and songwriter of the band iiO after their debut single "Rapture" reached No. 2 on the UK Singles Chart. The song also charted across several countries in Europe. Their 2006 single, "Is It Love?", reached the top of the Billboard Hot Dance Club Play Chart. After embarking on a solo career in 2005, Ali became successful as an oft-requested vocalist in electronic dance music. She released her debut album Embers in 2009. Critics praised her unique songwriting, which combined electronica with ballads, Eastern and acoustic music. Three singles from the album reached the top-ten of the Billboard Hot Dance Club Play Chart, including the No. 1 hit, "Love Story". The song was also nominated at the 25th International Dance Music Awards at the Winter Music Conference, while "Fantasy" was nominated for a Grammy award. In 2010, she released a remix compilation titled Queen of Clubs Trilogy to mark her decade-long career as a singer-songwriter. "Rapture" was re-released as the only single from the compilation and the song was once again a chart success in Europe. Ali released the single "Pressure" with Starkillers and Alex Kenji in 2011, which became a club and festival anthem and received an International Dance Music Award. In 2012, she collaborated with BT and Arty on the single "Must Be The Love", which was nominated for an International Dance Music Award. She has also collaborated with several notable producers and DJs, such as Armin van Buuren, Schiller, Avicii and John Creamer & Stephane K. Ali is currently working on her second studio album, titled Phoenix. Life and career: 1980-2005: Early life and iiO: Nadia Ali was born in Libya to Pakistani parents in 1980. The family relocated when she was five years old and she was subsequently raised in Queens, New York. An eight-year-old Ali used any opportunity she could get to sing after a friend heard her humming a Madonna song at school and complimented her. While continuing singing as a hobby and for the thrill of performing and receiving no formal vocal training, she had also started writing poems and songs for her friends by the time she was 15. As a teenager her interest in dance music developed after visiting nightclubs in Manhattan and inspired her to dream that she would one day be featured on one of the records playing in the club. Ali started working in the New York offices of Versace when she was 17, where she attracted attention by singing at the Christmas parties. A colleague from Versace introduced her to producer Markus Moser, who was looking for a female singer to collaborate on some of his original productions for a girl group in Germany. The two teamed up with Moser working on production, while Ali wrote the lyrics and vocals for the songs. Her first song was the single "Rapture", which she wrote in 30 minutes based on an encounter with an Australian nightclub patron. A demo of the song was first played at the New York club Twilo in 2001 and received early support from influential DJ Pete Tong who played the demo on his show on BBC Radio 1. The song eventually became an Ibiza favourite after support from prominent DJ's such as Sasha, Danny Tenaglia and Sander Kleinenberg during the summer season. Released in late 2001 by Ministry of Sound, the single became a commercial success peaking at No. 2 on UK Singles Chart and Billboard's Hot Dance Club Play Chart, while charting in several countries in Europe. The success of "Rapture", Ali said, caused the formation of iiO as the music they were initially working on was quite different from dance music and were asked to come up with a project name to promote the single. They originally named themselves Vaiio after the Sony VAIO laptop Ali used to write the lyrics on. The duo toured internationally and released several more singles, including "At the End", "Runaway", "Smooth", and "Kiss You". Their first studio album, Poetica followed in 2005. Ali left the group in 2005 to pursue a solo career, while Moser continued to release iiO material featuring her on vocals. Most notably, these releases include the 2006 single "Is It Love?", which reached No. 1 in America on the Billboard Hot Dance Club Play Chart, the 2007 remix album Reconstruction Time: The Best Of iiO Remixed and the 2011 studio album Exit 110. When asked about her decision to pursue a solo career, she said her time with iiO was a great learning experience but she decided to leave because she didn't want to restrict herself to one style of music but explore her creativity and also to have the freedom to collaborate with others artists. Her decision to pursue a career as a singer was not initially encouraged by her Pakistani parents who were academically inclined and wanted her to pursue a more stable career. She has said since then they have evolved and are one of her biggest supporters. Speaking of her identity as a Pakistani woman, she has said it is very important to her to set an example that they are able to contribute positively and capable of taking their career into their own hands. Explaining further, she said that she feels it as her responsibility to any women who are sometimes stereotyped to show that they can contribute to arts or any professional field. Her ethnicity, she has stated, has been an advantage and helped her stand out in the entertainment industry. She has said that over the years, she has met South Asian women who have told her that her story has inspired them to pursue something they loved. 2006-09: Embers: Ali started working on her debut solo album soon after leaving iiO, a process which took her four years. She attributed the delay to her busy tour schedule and the fact that she was still learning and "trying to establish her identity as a songwriter and co-producer". Her first solo release was the 2006 single, "Who is Watching?", a collaboration with Dutch DJ Armin van Buuren, which appeared on his album Shivers. She has described "Who is Watching?" as one of her most meaningful songs, the song described one's struggle to reach the top, only to realise once one is there how lonely it is and how one has forgotten their priorities and the important people in their life. This was followed by "Something to Lose" in 2006, a duet with singer-songwriter Rosko, produced by John Creamer & Stephane K and released by Ultra Records. The track was licensed to Roger Sanchez's Release Yourself, Vol. 5, as well as Sharam Tayebi of Deep Dish for his Global Underground debut Dubai. In June 2008, she released "Crash and Burn", the first single from her solo album. The single became a club success peaking at No. 6 on Billboard's Hot Dance Club Play Chart. She released the second single, "Love Story" from the as-yet untitled album in February 2009. It topped Billboard Hot Dance Club Play Chart in April 2009 and was nominated for the Best Progressive/House Track at the 2010 International Dance Music Awards at the Winter Music Conference. Ali was featured on MTV Iggy in March 2009, where she recorded three live acoustic videos, performing "Rapture", "Crash and Burn" and "Love Story". The third single "Fine Print" was released in July 2009. Ali announced that the single preceded the release of her debut solo album Embers. The single peaked at No. 4 on Billboard's Hot Dance Club Play Chart.Embers was released in September 2009. Co-produced by Sultan & Ned Shepard, Alex Sayz and Scott Fritz, Ali self-released the album on her own label, Smile in Bed Records.Embers generally received positive reviews, Chase Gran from About.com called it a "well rounded, gourmet album with impressive songs". Gail Navarro from Racket magazine complimented Ali on her songwriting saying, "It wasn't just her sultry sound mixed in together with that enchanting singing voice; her songwriting got me hook, line and sinker". Speaking about the self-release of the album, she has cited her creative independence and the pressure of deadlines as the main reasons why she created her own record label. She chose to release her singles and albums digitally citing the nature of the electronic music audience with the listener choosing to click a button and getting music instantly and the traditional method of distribution deals in the United States. Ali released two collaborations in 2009, the first "Better Run" with Tocadisco was released on his album TOCA 128.0 FM and "12 Wives In Tehran" with Serge Devant was released on his album Wanderer. 2010-2011: Queen of Clubs Trilogy: Ali's first release in 2010 was the track "Try", a collaboration with German producer Schiller, chosen as the lead single from his album Atemlos, the music video premiered on YouTube in February 2010. In April 2010, Ali released "Fantasy", the fourth single from Embers. The track was chosen as a single by her fans after a poll conducted by Ali on her Facebook page. The music video for "Fantasy" was set to the Morgan Page remix, which served as a prologue to Ali's next project; Queen of Clubs Trilogy: The Best of Nadia Ali Remixed. Speaking about the project, Ali mentioned that she wanted a remix compilation, which spanned the 10 years of her career from her one-half as iiO, to her solo album and collaborations. Explaining the name of the concept, she said she wanted to incorporate her upbringing in Queens and the fact that her music is predominantly played in nightclubs. Using that inspiration, she decided to use the playing card "Queen of Clubs" as the title, portraying herself as the Queen, a move she described as "audacious" but something she felt she could prove because she had the substance. The package was broken into three releases: Ruby Edition (August 2010), Onyx Edition (October 2010) and Diamond Edition (December 2010). It featured collaborations with, and remixes by, Armin van Buuren, Gareth Emery and Avicii amongst several other prominent DJs and producers. I think the fact that it (electronic dance music) is mostly male dominated makes females stand out that much more if they are driven enough. I believe anything is possible with hard work. - Nadia Ali With a decade-long career, MTV described Ali as one of the "enduring empresses" of electronic dance music and the Queen of Clubs Trilogy as "aptly titled". Noted for being the "definitive" and "unmistakable" voice of dance music, she is said to have "enriched" and "invigorated" the genre. Ali has went on to become an oft-requested collaborator by DJs and producers. She was praised for acquiring notability in a male and DJ-dominated genre where vocalists serve as supporting acts. She said this was a double-edged sword as she was also treated as competition by DJs. In December 2010, she received her first Grammy nomination when the Morgan Page remix of "Fantasy" was nominated in the Best Remixed Recording, Non-Classical category. Her first track with iiO, "Rapture" was re-released as a single from Queen of Clubs Trilogy with remixes by Tristan Garner, Gareth Emery and Avicii. A new music video for the track was shot based on the "Queen of Clubs" theme and released on 24 January 2011. The song peaked at No. 3 on the Romanian Top 100 chart, while charting in other European countries. Throughout 2010, Ali's collaborations with DJs and producers were released. These included remixes of her upcoming collaboration "That Day" with Dresden and Johnston, which were released on compilation albums. The next, "The Notice" with Swiss duo Chris Reece was released on 13 July. Ali was featured on the track "Feels So Good" on Armin van Buuren's fourth album Mirage. Released as the fifth single from the album, the song was voted as the Best Trance Track at the 27th International Dance Music Awards. She was also a featured guest on his Armin Only tour. During 2011, Ali announced the release of collaborations with several DJs and producers. The first of these was "Call My Name" with the duo Sultan & Ned Shepard, released by Harem Records on 9 February. "Call My Name" was a club success, charting at No. 5 on Billboard Hot Dance Club Play Chart. The second track "Pressure", a collaboration with Starkillers and Alex Kenji was released on 15 February by Spinnin' Records. The Alesso remix of "Pressure" became a club and festival anthem and received support from notable DJs such as Armin van Buuren, Tiesto, Swedish House Mafia and Calvin Harris and was voted the Best Progressive House Track at the 27th International Dance Music Awards. In April, iiO released the studio album Exit 110, which featured Ali on vocals. She distanced herself from the album and stated she had no involvement in the project besides her vocals and words from nearly 10 years ago being used for the songs. She described it as "interesting" that there was new material featuring her released by iiO when she hadn't worked with Moser since 2005. She further said that she hadn't spoken with Moser since her departure and when asked whether the split of iiO was amicable, she refused to explain the circumstances surrounding the dissolution of the duo. On 23 May, her next collaboration, "Free To Go" with Alex Sayz was released by Zouk Recordings. She was featured on Sander van Doorn's second studio album Eleve11 on the track "Rolling the Dice", a collaboration between van Doorn, Sidney Samson and her. Her next release was the single "Believe It" with the German duo Spencer & Hill, which was released on 3 October by Wall Recordings. She collaborated once again with Starkillers on the single "Keep It Coming", which was released on 26 December by Spinnin' Records. 2012-present: Phoenix: As of February 2010, Ali had begun working on her second studio album. A music video for the lead single from the album, "When It Rains", was released on her YouTube channel in August 2011. Ali mentioned in September 2012 that the single would be remixed by Tommy Trash but was noncommittal about a release date. She attributed the delay in the release of the album once again on her busy touring schedule citing the demand to perform live particularly in the United States. However, beginning in February 2012 she took 40 days off to work on the album, which she said would be titled Phoenix. She chose the name as an allusion to what she felt was a relaunch of her career. Explaining the creative process behind the album, she said she chose to work with a mix of international producers in an effort to combine the North American understanding of good songwriting with the European expertise in production to create a high energy dance album catered for her dance music fans. Elaborating further, she said she had collaborated with producers from both within and out of the electronic dance music genre to bring a different flavour to the album. She also tried to bring together the DJs with whom she had released songs within the last few years to make one cohesive compilation. The theme of the album, she explained, was to help the listener understand the artist personality and the singer-songwriter behind the music. In May 2012, Ali announced her move to Los Angeles citing the need for a change after spending 26 years in New York City. Ali said the move had also provided her with new inspiration to work on Phoenix and helped her become more proactive about finishing the album. Her first release in 2012 was "This Is Your Life", the fourth single from Swiss DJ EDX's album On The Edge. That was followed by "Carry Me", a collaboration with Morgan Page, the fourth single from his third studio album, In the Air. Her next release was "Must Be the Love", the lead single from BT's upcoming ninth studio album, which was a collaboration between him, Arty and Ali. Ali said she had to bring out the best in her while working with BT as not only was she a long-time fan but also because he is a pioneer in electronic dance music. She also mentioned that despite having worked with him on the song for nearly two and a half years, they have never met. The single was nominated for Best Trance Track at the 28th International Dance Music; her fourth nomination for the award. In December 2012, Ali announced her engagement to her fiancé, who is based in Toronto, Canada. In 2013, Ali wrote songs for Krewella for their debut album and has announced collaborations with Stargate, Steve Aoki, R3hab and Fedde Le Grand. Musical style and influences: Ali is perhaps best known for her characteristic voice and vocal abilities. Reema Kumari Jadeja from MOBO described her work as "masterfully encapsulating euphoric and melancholic, Ali's signature music style sees Eastern mystique caressed with intelligent electronica and fortified with soul". The songs on Embers were likened to Madonna's work in her prime and a "modern re-intepretation" of Stevie Nicks. Billboard praised her voice for having "too much life on its own". Ali has been influenced by an eclectic mix of artists, which she credits to her Eastern background and upbringing in Queens. She listed alternative, folk, Indian and Pakistani music as her biggest influences. Some of her vocal and songwriting influences, she said, were Stevie Nicks, Nusrat Fateh Ali Khan, Madonna, Sade and Bono. "Crash and Burn" (2008) Sorry, your browser either has JavaScript disabled or does not have any supported player., You can download the clip or download a player to play the clip in your browser. "Crash and Burn" combines Ali's signature music styles: Eastern, electronic and acoustic Problems listening to this file? See media help. Her debut album was noted for a blend of electronica, acoustic and Middle Eastern melodies. Speaking about Embers, Ali said she did not want a typical dance record and chose to experiment, particularly with the number of ballads on the album. Meanwhile, her second album Phoenix, she said would be a more "high-energy" dance album, where while she maintained her characteristic vocal style, she also experimented with the musical style. She said while working on the album she was inspired and influenced by indie pop and the styles of Avicii, R3hab and Skrillex. Ali has collaborated with DJs from a broad range of genres and styles in electronic dance music. Some of the resulting work has been described as minimal trance, "sad disco", "dance floor ballad" and "mainstream pop". With collaborations, Ali said she adjusted herself to the kind of song the DJ/producer wanted to produce - whether it was commercial or lyrically meaningful. She has been praised for her songwriting, describing personal experiences with people, which "hit a powerful and striking chord" with the listener. Ali has said she almost always prefers to sing a song she has written herself and that the best songs are mostly written when they narrate a true account. The songs on Embers, Ali has stated, describe the relationships she has experienced and the emotions they have left behind. The song "Fantasy", she said, summed her up how she likes to be recognised, "an emotional songwriter who loves being a part of electronic music". Ali has said in the future she would like to focus more on production and songwriting and has written songs for Tocadisco, Avicii, Hardwell, Sultan & Ned Shepard, EDX and Pete tha Zouk.
Feels So Good (feat. Nadia Ali)
Rapture (Avicii New Generation Radio Edit)
Armada 15 Years
Almost Home (feat. Nadia Ali & IRO)
Deep House Hits - The Classics
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