Gotta Groove Records
Anti-Flag — Live Vol. 2
Recorded over the course of 3 special evenings at the Troubadour in Los Angeles, CA, Live Vol. 2 spans the entire Anti-Flag catalog and catapults you from your headphones straight into the circle pit. Known for their raucous live show, Anti-Flag deliver in kind with this first volume of live tracks.
Lemolo — Swansea
Swansea, the forthcoming record from the Pacific Northwest’s Lemolo, is an ethereal experience bolstered by crashing waves of intentional sound intertwined with hauntingly powerful vocals. Underpinning this soundscape are poignant, insightful lyrics about various moments of loss. Exploring both the sting and peace of newfound solitude, Lemolo’s Swansea is a vivid exploration of a turbulent emotional landscape that resonates as a foundational part of the human experience.
Mr. Chair — Nebulebula
Mr. Chair looks like a jazz quartet, sounds closer to a rock band, but in actuality is contemporary classical music in the guise of a modern band. As classically-trained musicians well versed in jazz, Mr. Chair creates a new sound using both acoustic and electric instruments.
Stop The Presses — Money In The Bank
Stop the Presses began in 2010 in the Miami suburb, Hialeah, FL and released their first EP “Does it Still Look Pretty” in 2011. After years of touring all over Florida, releasing their second album “Eskandalo” in 2013, and playing at the Vans Warped Tour (California dates) in 2014, song-writers Ali Culotta and Danny Portilla relocated to Brooklyn, NY in 2016 to put together a new band and release an album with a classic retro vibe. After their debut show in 2018 at the Van’s Warped Tour in Holmdel, NJ, Stop the Presses has been busy touring multiple cities in the North East like Philadelphia, Providence, Portland, New London, and Washington D.C, anticipating the release of their latest album “Money In the Bank”.
The latest release – Money In The Bank – is available now!
Dawn Riding — Last Spring
In their debut album Last Spring, Dawn Riding has crafted a project that is somehow fierce, intimate, outlaw, passionate, and psychedelic, all at the same time. Having cut their teeth in basements, underground venues, and punk houses around the country, it only made sense for Dawn Riding’s debut to come to life in a dusty mid-fi recording studio run out of a San Francisco garage. The eight psych-tinged songs that came out of the Last Spring sessions unveil the stories of songwriter Sarah Rose Janko’s fabled friendships, renegade icons, and uncompromising ethos, and serve as a perfect introduction to Dawn Riding’s dreamy, gritty sound.
Edgar Allan Poe — Ligeia
Ligeia was first published in the Baltimore American Museum magazine, on September 18, 1838. The story was revised a few times throughout its publication history. It is included in Tales of the Grotesque and Arabesque (1840), in Phantasy Pieces (1842), and Tales by Edgar Allan Poe (1845). The poem The Conqueror Worm, published by Poe in January 1843, was first incorporated into the text (as a poem composed by Ligeia) in the February 15, 1845, issue of the New York New World. The poem is set in a theater where the audience is composed of angels, and the actors are mimes who are controlled by formless creatures. Suddenly, a blood-red thing appears upon the stage, chasing and devouring the mimes. When the curtain fall down the title of the play is revealed: ‘Man’ and the protagonist is death, ‘The Conqueror Worm’.
Ligeia was generally well received by critics, and Poe himself stated that “Ligeia is undoubtedly the best story I have written” and that “the loftiest kind [of tale] is that of the highest imagination and for this reason only Ligeia may be called my best tale.” H. P. Lovecraft, in Supernatural Horror in Literature, claimed that “it is in two of the less openly poetic tales, “Ligeia” and “The Fall of the House of Usher”—especially the latter—that one finds those very summits of artistry whereby Poe takes his place at the head of fictional miniaturists. Simple and straightforward in plot, both of these tales owe their supreme magic to the cunning development which appears in the selection and collocation of every least incident. “Ligeia” tells of a first wife of lofty and mysterious origin, who after death returns through a preternatural force of will to take possession of the body of a second wife; imposing even her physical appearance on the temporary reanimated corpse of her victim at the last moment. Despite a suspicion of prolixity and top-heaviness, the narrative reaches its terrific climax with relentless power.”
Read by Anthony D.P. Mann, and score by Chris Bozzone. Available now from Cadabra Records.