“…some of the strongest American poetry of the latter 20th Century. While Kaddish remains his strongest work of poetry, his much more famous poem “Howl” still carries more of a raw, exhilirating anger. Written to be read aloud, Howl is basically a cry against the conformity of 1950s America but the anger found within still reverberates almost half a century later.” -amazon reviewer


“… is an American avant-garde metal band from Shreveport, Louisiana, formed in 2007. Their musical style is considered experimental metal due to their use of frequent genre changes within songs, including jazz, swing, and electronica, but primarily metalcore. They have released one EP and one full-length album, and have toured with Winds of Plague, The Human Abstract, Sea of Treachery, and See You Next Tuesday.” -wikipedia

“…the spastic blending of genres maintains a cohesive sound that draws in listeners from many musical worlds. Love it or hate it – as long as they get a strong reaction to their music, the members of this band will feel that they have done their duty.”

“The IWABO overall aesthetic is all things radical. They are heading in down a trail they are blazing themselves – with twists and turns of their own creation. Due to their powerful live show and commitment to making sure every single fan knows how much they are truly appreciated, the more people who are exposed to the IWABO experience, the more new fans they will amass.” – century media records

memory tapes
Philadelphia’s Dayve Hawk : Memory Cassette, Weird Tapes, or Memory Tapes

“… a record of achingly gorgeous dance-pop that captures both the joy of nostalgia and the melancholic sense that we’re grasping for good times increasingly out of reach…
Seek Magic is something of an inhabitable universe that proves there’s far more to Hawk’s sound than a way with reverb and passing familiarity with dance loops.” – p4k review



hazy, nostalgic, otherworldly, unsettling

…an album that shifts effortlessly between several styles and sounds while fitting together as a diverse but cohesive package. There is common theme running through Continent’s songs even if it is not easy to pinpoint or describe.
The Montreal native has been creating tracks since his pre-teens and has only begun to present his music publicly in the last couple of years. CFCF’s career began to take off with his contest winning remix of Crystal Castles “Air War” and has followed up with a chain reaction of official remixes for talents such as Sally Shapiro, The Presets, HEALTH, The Teenagers and Hearts Revolution among many others.

“The songs range from mid-tempo nu-disco to balearic, house to ambient. Often the basis of the atmosphere was culled from films by Werner Herzog, Michael Mann, David Lynch, and David Cronenberg as well as countless musical influences including Arthur Russell, Saint Etienne, and Tangerine Dream.” -pressrelease

The Fader Magazine said in a recent interview with CFCF, “Like many people his age, Silver obsesses over childhood ephemera. But rather than sate his yearnings with late night eBay binges on Ghostbusters memorabilia, he resurrects ’80s keys and synths, modifying them into a hybrid of sturdy structure mixed with vintage minor chord melody. “There’s definitely a feeling I try to capture,’ [Silver] says. ‘This feeling of the last day of school, or it could be a decade I didn’t even live in. It doesn’t have to be specific to me.’


“Let It Beep fuses two concepts: the electronic (thick synths and dance-y drum programming) and the pop/rock of the 1970s. Of the recording process, Schaefer says, “We were consulting a lot of 70s pop recordings for production ideas—Off The Wall-era Michael Jackson, the Bee Gees and Fleetwood Mac.” Schaefer also cites Bruce Springsteen, Thin Lizzy and the Blade Runner soundtrack as primary influences.” – their myspace

“The clattering synth chaos of We Breed Champions is still represented, especially on “1993” and “Gorilla King,” but the band’s sound has been refined and streamlined into shimmering, dance-oriented power pop. The group’s songwriting has developed into its most potent tool—“Poison Control,” “My Car Is Haunted,” and “Shit Xmas” all stand out as minor classics of bittersweet pop. It’s not wholly original, following in the footsteps of countless New Wave- and post-punk-inspired groups of the last seven or eight years, and incorporating some of the indie funk of TV on the Radio.”

air waves

>> Favorite New Band
Air Waves
“Nicole Schneit is an amazing songwriter. The music she writes is like a favorite blanket wrapped around you. Drummer Dave Ferraro complements her songs well. “Shine On” is my current favorite song by them.” -dan deacon

“The Air Waves’ self-titled five song EP is quite simply a lovely collection of melodic tunes, upbeat guitar, and endearing vocals. The album feels earnestly clean and elemental (the band cites clouds and water as influences and it actually comes through). But the Brooklyn based trio embodies more than just a few naturally occurring compounds; their vibe is something along the lines of Beach House and Neil Young with some Pixies thrown in the mix. Overall, the band’s lo-fi rock is musically and lyrically smooth.

Nicole Schneit is a tactile writer; her lyrics inhabit intimacy and linger in the realm of scent, sounds, sleep, and touch. The band’s voice is authentic throughout the album. Tracks like Gems and Kingdom are dreamy and lethargic while Shine On and Lightening are peppy and up beat. Schneit’s songwriting momentum is derived from her ability to sow together a collage of simple statements and small movements into an impression of the story; like a picture painted with watercolors, where the edges and lines are obscured.

The last song entitled Keys is the highlight of the album. The track is smooth upbeat rocker about the inevitable passing of youth and acknowledgment of the trials old age can bring; Schneit declares there is a sound in every sound. Ultimately Air Waves feels like the back track to an over exposed home movie, tripping through muted scenes of running time, a familiar embrace tinged with that delicate melancholy of memory.”

funk / idm / electronica

“Vibert helped to redefine the rules of electronic music in the UK in the early to mid ’90s – alongside a bunch of reprehensible mates that included Richard D. James (a.k.a. Aphex Twin), Tom Jenkinson (Squarepusher), Mike Paradinas (µ-Ziq), Chris Jeffs (Cylob), and the labels Rephlex and Warp”

“A pretty sweet set from the man of many names, club groove beat legend Luke Vibert! Rhythm has a lot of spacey soul jazz inspired sounds in the mix, and beats the roll from a laidback hip hop style more of sparse groove — kind of a slow rolling groove rather than a fill the club floor sound — a sample based, borderline hip hop instrumentals style set”

Luke Vibert – Rhythm (2009)

“The title track shows off his ability to create something so hypnotically cool out of such simple lines and hooks that you’ll believe old skool hip-hop is British” / “He mixes up genres and EFX across the 14 tracks; hip-hop vs. Acid, experimental electronic vs. dubstep, electro vs. tech house”

Luke Vibert – We Hear You (2009)


brain-melting, spaceship-powering tribal tr(d)ance jams from the future / adrenaline pumping, ear purging slab of towering, pristine noise / swirling atmospherics and percussive gunfire / ‘rarely have two men sounded so much like the end of the world’ / new wave of intelligent, literate British pop music / iridescent synths, psychedelic drone, distorted vocals and tribal rhythms


forceful tribal drumming + end-of-days guitar shredding : huge walls of guitar-and-drum noise / scorched landscape / androgynous vocals / intricate synth patterns / brutal freakouts / / everything is fucked so it’s best we just rage until the sun comes up… post-apocalyptic nihilistic sound