" As a violinist and a composer in the string quartet Ethel and the collective ensemble Ne(x)tworks, Cornelius Dufallo has made substantial contributions to New York’s burgeoning new-music scene." -Steve Smith, New York Times

Cornelius Dufallo's Dream Streets ranges "from soaring, melodic notes to repetitive Terry Riley-like riffs… gentle sawing to all-out country-inspired hoe-downs… it's all reverb-drenched and spread across the stereo field like a rock band. Occasionally, squirrelly electronics and deep atmospheric field recordings–cawing birds, rain, traffic ambience–find their way into the mix, and it all melds together in a most pleasing manner." -Arcane Candy

"Cornelius Dufallo ushers the grand tradition of solo violin virtuosity into the 21st century, seamlessly blending technology with his artistry to produce richly layered textures that are nearly symphonic in scope.  The wild ride [he] takes us on ranges from meditative calm to urban cacophony… [I]t is the manifestation of a fiercely creative vision and a work of fearless and timeless beauty." -Kenji Bunch

In his evocative album Dream Streets, Cornelius Dufallo draws inspiration from the beauty and symbolism of the New York nightscape. Both urban and organic, the acoustic and electronic interweave to create tides of a dramatic, unconscious narrative. Dufallo's luscious violin sound emerges slowly and mysteriously, striking a steady groove - one that echoes with the rhythm and variety of a city street and the flow of an underwater current.

Heralded by the New York Times as one of the "new faces of new music," and praised for his "taut virtuosity," Dufallo is well known for his work with the amplified string quartet ETHEL, and the creative music ensemble Ne(x)tworks. With Dream Streets, Dufallo takes his first serious steps outward as a solo artist. In development since 2004, Dream Streets reflects upon a wide range of experiences, from the deeply personal (in the groove oriented pieces Lighthouse and Waiting for You ) to the philosophical (Transcendence was written as a meditation on compassion and the evolution of the human spirit). Other pieces, like Naiad and Suite for Electric Violin are closer to pure musical explorations.

In Dream Streets, Dufallo equates melody with consciousness. As the album unfolds, its tracks wax more abstract and atmospheric, moving toward a sonic dream world. The reverb of the violin supplants earlier wistful tunes and meandering rhythmic grooves trail out to naught. Dufallo's music reaches a state of emotional stasis that detaches earlier movements from the album's peak. However, Dream Streets' final movement opens into a burst of aural exaltation—a new face formed in hard weather.