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BrooklynVegan | The Bug Club announce new album, share “Jealous Boy” « News & Press | Ground Control Touring
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GCT is hiring a Tour Marketing Coordinator « News & Press | Ground Control Touring
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News & Press

GCT is hiring a Tour Marketing Coordinator

GCT is hiring a Tour Marketing Coordinator

Posted 03/24/2025

Ground Control Touring is looking to hire a Tour Marketing Coordinator in our Brooklyn or Los Angeles office!

Interested applicants are encouraged to submit a cover letter, resume and social media handles with the subject “Tour Marketing Coordinator” to jobs@groundcontroltouring.com.

—

The Tour Marketing Coordinator will perform a wide variety of duties in support of the Marketing Manager. These duties will include (but are not limited to) the following:
· Review marketing plans and distribute ad assets + ongoing promo materials for shows to relevant promoter and client parties.
· Compile marketing plans and radio proposals for Marketing Manager review.
· Create and monitor Marketing, Ticketing and Radio grids.
· Handle all facets of tour marketing for small-scale tours and one-offs.
· Research audience and artist demographic information to shape informed marketing strategy.
· Run point on agency’s social media platforms.
· Contribute to marketing meetings to discuss best practices across all tours.

Applicants should possess the following skills/experience:
· Bachelor’s degree preferred
· Prior office/administrative experience required
· 2-3 years music industry experience is preferred, ideally in a venue, agency or live entertainment setting that involves familiarity with marketing plans and social/technological best practices.
· Strong excel and math proficiency
· Strong (Mac) computer and Internet skills
· Exceptional written and verbal communication skills
· Strong organizational and analytic skills, along with a passion for accuracy and proactive problem solving.

—

The ideal candidate for these roles is someone who is professional and personable, able to multitask effectively (while prioritizing time-sensitive projects), attentive to details both large and small, and has a familiarity with our roster.

This is a fast-paced office. We run a tight ship, but are also avid show-goers and music fans. We hope the individuals who join us will be music lovers who are as committed as we are to the development of our artists’ careers.

—

Ground Control Touring is a boutique booking agency with offices in Brooklyn, NY, Los Angeles, CA and Portland, OR. We represent a diverse roster of acts which includes Ani DiFranco, Belle & Sebastian, Bill Callahan, Boy Harsher, Bright Eyes, Ceremony, Crumb, Deafheaven, Dry Cleaning, Gregory Alan Isakov, Japanese Breakfast, Kim Gordon, Kurt Vile, Manchester Orchestra, Men I Trust, Shannon & The Clams, Surf Curse, Waxahatchee, Whitney, and many others.

This is a full-time position with eligibility for company-sponsored benefits. Compensation begins at $50,000 annually. Actual base salary is dependent on several factors including but not limited to: market dynamics, experience, specialized skills/training (education), level of responsibility, budgetary considerations, tenure at the company (for current employees), etc. The salary listed is just one circumstantial element of the total compensation package for employees.

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Coloradist | Russian Circles and Pelican, Mar 19, 2025, Gothic Theatre, Englewood, CO Photos + Recap « News & Press | Ground Control Touring
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Ground Control Touring Welcomes Joyer! « News & Press | Ground Control Touring
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News & Press

Ground Control Touring Welcomes Joyer!

Ground Control Touring Welcomes Joyer!

Posted 03/20/2025

Joyer formed in New Jersey in 2017, and after releasing two self-recorded demo collections, they released their first studio album, Sun Into Flies, in 2020, followed by Perfect Gray in 2021. Now based in Brooklyn and Philadelphia, the duo of multi-instrumentalist brothers Nick and Shane Sullivan are constantly evolving their sound. Their latest album, Night Songs, examines the allure of night and its ability to shapeshift from a mirror for our innermost demons to a shield from the demands of daily drudgery. It marks a departure from their hushed slowcore beginnings and displays a more expansive sound—from blowtorched shoegaze guitars and poppier vocals to melancholy synths and pastoral lap steel. Fittingly, their detour into twistier, heavier territory coincides with the depraved nature of nighttime activities, and their foray into a more hi-fi, pop-forward direction aligns with the stark clarity that pitch-black skies provide. Their devilish distortion also functions as a cathartic foil to their quiet, real-life demeanors, and was informed by their live shows, which increasingly featured gnarlier versions of past Joyer songs. Following the success of Night Songs the band has embarked on various country-wide tours, sharing bills with other up-and-coming acts as well as prominent indie rock artists such as Wishy, Feeble Little Horse, Horse Jumper of Love, Lowertown, and Babehoven.

Related Artists: Joyer

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Ground Control Touring Welcomes Portraits of Past « News & Press | Ground Control Touring
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Ground Control Touring Welcomes Portraits of Past

Ground Control Touring Welcomes Portraits of Past

Posted 03/19/2025

Portraits Of Past prefers to be called a hardcore band, though many other adjectives and sub-genres have been leveled at them over the 30 years since these five childhood friends initially called it quits.

After many years of pent-up demand from listeners old and new, the darkly melodic, explosive, and reluctantly “legendary” five-piece originally from the San Francisco Bay Area is back for Summer 2025 to support a vinyl reissue of their classic 1996 self-titled album. This time around, showgoers can also expect the live debut of tracks from the 2009 Cypress Dust Witch EP.

Related Artists: Portraits of Past

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Ground Control Touring Welcomes she’s green « News & Press | Ground Control Touring
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Ground Control Touring Welcomes she’s green

Ground Control Touring Welcomes she’s green

Posted 03/19/2025

Likened to a soft summer rain, she’s green is a Minneapolis-based dream-inducer composed of vocalist Zofia Smith, guitarists Liam Armstrong and Raines Lucas, bassist Teddy Nordvold, and drummer Kevin Seebeck. The band has played many shows throughout the Midwest and East Coast, sharing bills with acts such as Hotline TNT, Glixen, Friko, and more. The Star Tribune recommends bringing “earplugs and maybe a tissue for their set.” They initially received recognition through their first two released singles, “river” and “smile again”, both recorded and mixed at home. A raw emotional intensity shines through their honest and explorative songwriting process. After the release of their debut EP Wisteria, they were named one of First Avenue’s Best New Bands of 2023. In April of 2024, they got the most votes from industry professionals for MPR station The Current’s first annual Scouting Report Poll of the top rising artists in Minnesota.

Related Artists: she’s green

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Brooklyn Vegan|Friendship announce tour & share gorgeously slow indie rock song “All Over the World” « News & Press | Ground Control Touring
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Revolver | HEAR PELICAN’S PSYCHEDELIC SLUDGE SONG “INDELIBLE” « News & Press | Ground Control Touring
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Stereogum | Ovlov’s Buds Demos Are A Proper Lo-Fi Indie Rock Experience « News & Press | Ground Control Touring
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Time Magazine | Michelle Zauner Stares Down the Darkness « News & Press | Ground Control Touring
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Ground Control Touring Welcomes Prostitute « News & Press | Ground Control Touring
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News & Press

Ground Control Touring Welcomes Prostitute

Ground Control Touring Welcomes Prostitute

Posted 03/13/2025

Formed in 2020 in Dearborn, Michigan, Prostitute is an experimental post-punk and Arab rock band. Born out of the isolation of the COVID-19 lockdown, the band’s debut album, Attempted Martyr, was written in the midst of global and personal turmoil, capturing the zeitgeist of a world unraveling. A loose concept record, it chronicles the rise and fall of a doomed zealot whose pursuit of holy vengeance spirals into a psychotic orgy of violence, greed, and lust.

The band was initially formed by Moe Kazra who enlisted childhood friends Andrew Kaster and Dylan Zaranski, with Ross Babinski and Bret Wall later completing the lineup. Together, they self-funded the album, working with legendary engineer Chris Koltay to shape a sound that’s both abrasive and hypnotic—an unrelenting blend of warped guitars, primitive basslines, frenzied drumming, and corrosive synthesizers, interwoven with samples from diverse cultures, ranging from African to Middle Eastern and East Asian influences.

Tracks like “All Hail” (inspired by the 1977 Hanafi Siege of Washington D.C.) immerses listeners in a volatile, hostage-like environment. “Judge” channels Milton’s Satan in a chilling rallying cry, while “Body Meat” grapples with religious desperation and the tenuous boundary between faith and madness. Khachab and Kaster’s lyrics have been described by Pitchfork as “disturbingly poetic” with the ability to “lacerate with image alone.” Crude sloganeering and scenes of horrific violence are juxtaposed with literary allusion and Islamic symbolism, creating what the band calls a “theatricalization of terrorism.” Through this lens, they examine and critique the xenophobic stereotypes targeted at Arabs, distorting them into grotesque caricatures.

Over the past four years, Prostitute has established a reputation for their punishing, high-energy performances. The band’s live shows, described as “dangerous” and “volatile”, finds Moe delivering politically charged sermons atop a deafening bacchanal of sound. In 2023, Prostitute performed at the re-opening of the iconic UFO Bar in Detroit, followed by a series of benefit concerts for Palestine, Lebanon, and Sudan. These performances solidified their growing presence, leading to invites to play at No Rest Fest and New Colossus Festival.

As Prostitute continues work on their sophomore album, they are delving deeper into electronic and Arabic dance influences, drawing inspiration from the ongoing conflicts in Gaza and Lebanon. Their sound continues to evolve, with new tracks incorporating dabke rhythms, Arabesque melodicism, and industrial synth textures, all while retaining the same anarchic energy that defines their unique sound.

Related Artists: Prostitute

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Post-Punk | Sextile Debuts Video for Sassy Electronic Music Single “S Is For” « News & Press | Ground Control Touring
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Ground Control Touring Welcomes claire rousay! « News & Press | Ground Control Touring
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News & Press

Ground Control Touring Welcomes claire rousay!

Ground Control Touring Welcomes claire rousay!

Posted 03/12/2025

claire rousay is a Canadian-American musician, composer, and artist currently living in Los Angeles. rousay’s work operates in genre-spanning fashion; she is primarily known for composing highly emotive whisper-quiet musical works that heavily forefront music concrete and sound design elements like haptic sound and field recordings. These avant garde elements are often paired with strings, piano, and electronic melodies and textures. Her albums in this vein – on celebrated labels like Thrill Jockey and Shelter Press – gained her notoriety in the international ambient and experimental community.

rousay remains stylistically mercurial and incorporates generic elements from rock, electronic, hyperpop, noise, folk, free jazz, and more into her compositions. In some ways rousay is always busy making music about music, and too, music about everyday life, about the ordinary. A delicate and deeply timbrel quality is helixed into the musical components of rousay’s work. Quotidian sounds and spoken word elements are woven into melodies that have been temporally manipulated; time is compressed and expanded, chords are frozen in place, instances take eternities, and occurrences flash by with immediacy. Her work investigates styles, forms, times, and experiences. In this way, rousay is a formalist – interested in the material of music and sound, in technique – and yet her work is profoundly emotive and incredibly impressionistic.

rousay has performed at esteemed festivals and venues internationally; notably Unsound (Krakow), Big Ears (Knoxville), Rewire (The Hague), and Le Guess Who (Utrech). She’s installed or exhibited her work at ICA (London) and Art Gallery of NSW (Sydney). She’s done artist residencies at Ina GRM (Paris), The Momentary (Crystal Bridges Museum of American Art), and WORM Sound Studios (Rotterdam). She’s also given artist talks and workshops at renowned institutions worldwide regarding her practice as an artist, composer, and listener.

Related Artists: claire rousay

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Ground Control Touring Welcomes Alex Amen! « News & Press | Ground Control Touring
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News & Press

Ground Control Touring Welcomes Alex Amen!

Ground Control Touring Welcomes Alex Amen!

Posted 03/10/2025

Alex Amen is a twenty-five-year-old artist and songwriter from Texas. At eightee, Alex moved from Texas to California to study filmmaking. After one semester he dropped out and moved onto the “Dittman Family Commune”, a historic commune with ties to the anti war, civil rights, and psychedelic countercultural movements of the mid-60’s. It was here that he formed his first band, “American Slang” in 2017. The band broke up shortly after, resulting in Alex’s move from Southern California to an island in the Puget Sound of Washington State. Here he spent three years in relative isolation, taking up various interests in mycology, mountaineering, poetry, and wooden boat building. As years passed, Alex felt the increasing need to return to California to pursue music. In January of 2023 he self produced his first record (unreleased) in a self built studio at the historic Zorthian Ranch in Altadena, California. Alex now lives in Los Angeles and is performing and releasing music among the growing folk/Americana/country scene in the city.

Related Artists: Alex Amen

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Ground Control Touring Welcomes Black Moth Super Rainbow! « News & Press | Ground Control Touring
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News & Press

Ground Control Touring Welcomes Black Moth Super Rainbow!

Ground Control Touring Welcomes Black Moth Super Rainbow!

Posted 03/07/2025

Black Moth Super Rainbow – now two decades into their candied up career – emerges from the technicolor pollen puckered Pennsylvania landscape with a new and reformulated fructose-blasted seventh album. Soft New Magic Dream is announced today for a June 6th release via Rad Cult, and it comes that familiar rush of flavors that pump directly from the BMSR soda fountain; that signature blend of strange neon nostalgia, sweetly melancholic synth pop wizardry, hip hop head bobbing, and citric acid tinged freak out flourish.

Today they share the new single “Open the Fucking Fantasy,” alongside an announcement of a North American tour in summer 2025. Check out the new searing new single via YouTube (as well as the video for the previously released “All 2 of Us”). Pre-order the album here.

It’s been seven years since the more sinister Panic Blooms, and in that time plenty has happened in the house of Rad Cult, but with Soft New Magic Dream, we are invited to bask in the analog sweet and sour embrace of that classic and here notably chilled out and snoozled up BMSR sensibility.

Soft New Magic Dream has a nuanced flavor profile; these are freaky love songs, they funk up crunchy and rattle the speakers here and there, they melt down gelatinous at the right temperatures, and even go full ballad in a few extra-soft spots. The album balances sugar kinked romance with their distinctive and here notably downtempo funky production. Never fully eschewing BMSR’s signature strange liquid centers, these songs still flirt with the uncanny while honing in on the deeply melodic and approachably groovy tendencies they’ve have been exploring in their twenty years of lid flipping. Soaring synth leads ribbon through taffy colored chord changes and highly tactile and fractured drum programming and breaks.

Tobacco’s classic vocoder vocals, puckish as ever, burble fawning tenderness and body horror quasi erotic double dares in the fizzy saturated mist. These gummy serenades will leave you blissed out with a cavity-crumbled ear to ear grin.

As the BMSR project has evolved, from the scuzzier and folk-tinged backwoods leaf worship of the first albums into the more anthemic roller disco fog machine scenes of their mid-career, and then darker turns in the last few recent albums, Soft New Magic Dream feels like another subtle and surprisingly tender twist on that now-classic sound you’ve come to expect from BMSR. A turn towards something more serene, more direct, playfully wooing us without totally ditching that enigmatic crooked smile.

Lose your toothbrush in the clouds and get ready to guzzle down this potent marshmallow cloudscape concoction optimized for falling into face first.

Related Artists: Black Moth Super Rainbow

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Exclaim! | Black Moth Super Rainbow Return with New Album ‘Soft New Magic Dream’ « News & Press | Ground Control Touring
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Ground Control Touring Welcomes Nature TV! « News & Press | Ground Control Touring
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News & Press

Ground Control Touring Welcomes Nature TV!

Ground Control Touring Welcomes Nature TV!

Posted 03/06/2025

Door-to-door heartbreak salesmen Nature TV peddle an elixir of escapism and adventure. Sorrow and despondency. Contemplative nostalgia and tender melancholy. Hailing from Brighton it’s a canvasing technique they employ around the British Isles. Geographically out of phase with the main character energy of London, Guy Bangham (guitar, vocals), Josh Eriskin (bass), Jimmy Hunt (lead guitar, backing vocals) and Zal Jones (drums) write sadboi yacht rock layered with all the buried trauma of a Wes Anderson plot.

It’s a sales pitch that’s brought them fans at press and radio alike, with DORK, DIY, The Line of Best Fit, Gigwise, The Wild Honey Pie, Hype Machine, Radio One, Radio X, BBC Introducing and Amazing Radio all lining up to call themselves fans. Equally infatuated are the editorial gatekeepers at Spotify, Apple Music, YouTube and Deezer, earning the band playlist placements such as New Music Friday, Hot New Bands, Garden Indie, Stress Buster, The Lovely Little Playlist, Lo-Fi Indie, Alt Rocked, The Most Beautiful Songs in The World, David Dean Burkhart, Nice Guys, The Daily Dose and BIRP!

Live, the four-piece have captivated audiences at festivals such as ILMC, The Great Escape and Wild Paths alongside support slots with PINS, Wyldest, CVC, VANT, and Swimming Tapes. Following a UK tour with Trudy & The Romance the band took to the road for their own headline dates in October 2022 where they sold out Sneaky Pete’s (Edinburgh), Green Door Store (Brighton), The Washington (Sheffield), and The Victoria (Dalston).

Related Artists: Nature TV

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Ground Control Touring Welcomes UNIVERSITY « News & Press | Ground Control Touring
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News & Press

Ground Control Touring Welcomes UNIVERSITY

Ground Control Touring Welcomes UNIVERSITY

Posted 03/05/2025

UNIVERSITY are three—well, four, if you count the one pulling the strings—inquisitive souls bound by fate (and maybe “time travel,” if you ask them quietly). This Crewe-based band dives into life’s existential quirks, exploring adolescence, self-identity, and a touch of mania. Their music is “like getting punched by a gorilla but cuddled after,” blending influences like Nouns, Hella, and Cypress Hill into a patchwork of vintage-futuristic textures.

Hailing from a northern English railway town, UNIVERSITY channel the monotony and challenges of small-town life into an “explosion of energy” (NME). Inspired by everything from midwest emo to UK grime, they craft a cathartic mix of emo, punk, and hardcore—a restless anthem for a generation navigating chaos.

Related Artists: UNIVERSITY

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OurCulture | Woods’ Jeremy Bradley Earl Unveils Debut Solo Single ‘Let the Snow Fall’ « News & Press | Ground Control Touring
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News & Press

OurCulture | Woods’ Jeremy Bradley Earl Unveils Debut Solo Single ‘Let the Snow Fall’

Posted 03/04/2025

Last year, Woods surprise-released the EP Five More Flowers. Now, bandleader Jeremy Bradley Earl has announced his debut solo EP, Four Songs, which arrives March 21 on Woodsist. It’s led by the lush and gentle ‘Let the Snow Fall‘.
Check it out below, along with the EP tracklist and Earl’s upcoming tour dates.

Five More Flowers EP Tracklist:

1. Days Turn Around
2. Let The Snow Fall
3. I Know A Better Place
4. Deep Water For Ed

Jeremy Bradley Earl 2025 Tour Dates:

Mar 20-21 – Kingston, NY – Tubby’s *
Mar 22 – Providence, RI – AS220 *
Mar 23 – Winooski, VT – Monkey House *
Mar 24 – Portsmouth, NH – Press Room *
Mar 25 – Portland, ME – Space 538 *
Mar 27 – Philadelphia, PA – Fist Unitarian Side Chapel, early & late shows *
Mar 28 – Washington, DC – Songbyrd *
Mar 29-30 – Brooklyn, NY – Union Pool *
Apr 14 – Paris, France – Le Point Ephémère
Apr 17 – Barcelona, Spain – Laut
Apr 20 – Lisbon, Portugal – Musicbox
Apr 22 – London, UK – Lexington

  • with Daniel Higgs

Related Artists: Jeremy Bradley Earl

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Brooklyn Vegan | Jeremy Bradley Earl preps solo debut, touring with Daniel Higgs « News & Press | Ground Control Touring
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News & Press

Brooklyn Vegan | Jeremy Bradley Earl preps solo debut, touring with Daniel Higgs

Posted 03/04/2025

Woods singer-guitarist Jeremy Bradley Earl has announced his solo debut, the Four Songs EP, which will be out March 21 via Woodsist. The record was produced by Sam Cohen, who also plays on it, and it features three Earl originals and a cover of Ed Askew’s “Deep Water.”

Friend and former Woods’ bassist Kevin Morby says: “Four Songs only builds upon the already admirable DIY empire he’s been building over the past 25 years. Jeremy is an artist in every sense of the word. Be it songwriting or his beautiful work as a visual artist, I see these first songs under his own name as a culmination of the two mediums. Somehow, I feel as if these songs aren’t just songs but sonic paintings done by Jeremy. They each create their own universe bursting with color and I can’t wait for more. Left to his own devices, these songs feel more personal than ever. As if we’re getting a glimpse into an artist at work, behind closed doors, in real time.”

The first single from the EP is “Let the Snow Fall,” which doesn’t stray all that far from Woods’ echoey brand of psychedelic folk rock and also features Kyle Forester (Woods/Cut Worms/Crystal Stilts) on piano. You can watch the video below.

Jeremy will be on tour with Daniel Higgs (Lungfish, Reptile House) starting later this month with shows at Tubby’s Kingston on March 20 and March 21 and Brooklyn’s Union Pool on March 29 and March 30. All dates are listed below.

Related Artists: Jeremy Bradley Earl

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Paste Magazine | Dutch Interior: The Best of What’s Next « News & Press | Ground Control Touring
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News & Press

Paste Magazine | Dutch Interior: The Best of What’s Next

Posted 03/03/2025

When I’m spending time with my pals, often I’ll see them do something that makes me think contentedly, that’s what friendship looks like. It could be a thoughtful gesture, like giving someone a bouquet of tulips just because, or a silly exchange, so hyper-specific and ridiculous that only this small group of people would appreciate it. But what about the sound of friendship, beyond burbling laughter, soft words of comfort or hushed conversations late at night? LA County six-piece Dutch Interior know the sound of their friendship, because it’s at the very heart of their warm, idiosyncratic, woozy music. Brothers Shane (keys, vocals) and Hayden Barton (drums), Noah Kurtz (guitar, vocals), Jack Nugent (guitar, vocals), Conner Reeves (guitar, vocals) and Davis Stewart (bass, vocals) have been playing together for years by now, albeit in a series of different bands.

When I chat with half of the band over Zoom—Shane, Noah and Jack, all kindly joining the call at 7 AM to accommodate my time difference—Noah tells me, “If you look at the lineup of our six members, and you throw a rock in that direction and it hits two people, those two people probably had a band together at some point.” Shane and Hayden have, naturally, always been a part of each others’ lives, and Davis has known them since he was a baby, because his older brother is a friend of Shane’s. The rest have been in one others’ orbit since high school at least. Noah recalls meeting Conner in fourth grade: “We sort of met in a music class, and he taught me how to play Led Zeppelin and I taught him how to play a different Led Zeppelin song.”

I’m only meeting some of the Dutch Interior members on this call, but their easygoing patter—mixed with their cerebral yet unpretentious approach to their art—quickly endears them to me. Jack’s an English nerd; he uses words like “isolato” casually in our conversation, but he’s so laidback and cool that it doesn’t feel affected—just true to his literary leanings. He was pursuing a graduate degree in 20th Century American literature until the band started to get enough traction that he dropped out of the program. Shane has an odd side hustle creating hoax TikToks, most of them centered around Disneyland—like animatronics supposedly malfunctioning or a disgruntled Jungle Cruise tour guide whose narration gets progressively more bleak. “Yeah, that’s one of my darkest… it’s not a secret, clearly, but it is a source of embarrassment for me, but it’s lucrative, so I’m not going to stop,” he says sheepishly. Noah tells me that he’s “really into [his] kitchen these days”; he’s the type of person who loves to make simple dishes impeccably. “I do, like, chicken and rice, but I’ll spend hours trying to perfect it,” he tells me.

The history of Dutch Interior can largely be told through the various places where the band have hung out, and the studios (yes, plural) they’ve made over the years. For a while, the nexus of their hangouts was the Barton family’s place. “The property is broken up into four tiny homes, which is conducive to teens having their own space,” Shane tells me. It wasn’t until Jack, Davis and Noah moved into their Long Beach apartment on the Fourth Street Corridor that the first Dutch Interior record was made. Even then, that album, 2021’s Kindergarten, was more a fun group project than a conscious debut. “Conner had a tape machine and he brought it over. We were all bored and would just get drunk and record songs,” Jack says, later adding, “We released it on Spotify, just for fun, for friends… Kindergarten wasn’t like an effort to record a proper album. That album just kind of fell out of us.”

When I’m spending time with my pals, often I’ll see them do something that makes me think contentedly, that’s what friendship looks like. It could be a thoughtful gesture, like giving someone a bouquet of tulips just because, or a silly exchange, so hyper-specific and ridiculous that only this small group of people would appreciate it. But what about the sound of friendship, beyond burbling laughter, soft words of comfort or hushed conversations late at night? LA County six-piece Dutch Interior know the sound of their friendship, because it’s at the very heart of their warm, idiosyncratic, woozy music. Brothers Shane (keys, vocals) and Hayden Barton (drums), Noah Kurtz (guitar, vocals), Jack Nugent (guitar, vocals), Conner Reeves (guitar, vocals) and Davis Stewart (bass, vocals) have been playing together for years by now, albeit in a series of different bands.

When I chat with half of the band over Zoom—Shane, Noah and Jack, all kindly joining the call at 7 AM to accommodate my time difference—Noah tells me, “If you look at the lineup of our six members, and you throw a rock in that direction and it hits two people, those two people probably had a band together at some point.” Shane and Hayden have, naturally, always been a part of each others’ lives, and Davis has known them since he was a baby, because his older brother is a friend of Shane’s. The rest have been in one others’ orbit since high school at least. Noah recalls meeting Conner in fourth grade: “We sort of met in a music class, and he taught me how to play Led Zeppelin and I taught him how to play a different Led Zeppelin song.”

I’m only meeting some of the Dutch Interior members on this call, but their easygoing patter—mixed with their cerebral yet unpretentious approach to their art—quickly endears them to me. Jack’s an English nerd; he uses words like “isolato” casually in our conversation, but he’s so laidback and cool that it doesn’t feel affected—just true to his literary leanings. He was pursuing a graduate degree in 20th Century American literature until the band started to get enough traction that he dropped out of the program. Shane has an odd side hustle creating hoax TikToks, most of them centered around Disneyland—like animatronics supposedly malfunctioning or a disgruntled Jungle Cruise tour guide whose narration gets progressively more bleak. “Yeah, that’s one of my darkest… it’s not a secret, clearly, but it is a source of embarrassment for me, but it’s lucrative, so I’m not going to stop,” he says sheepishly. Noah tells me that he’s “really into [his] kitchen these days”; he’s the type of person who loves to make simple dishes impeccably. “I do, like, chicken and rice, but I’ll spend hours trying to perfect it,” he tells me.

The history of Dutch Interior can largely be told through the various places where the band have hung out, and the studios (yes, plural) they’ve made over the years. For a while, the nexus of their hangouts was the Barton family’s place. “The property is broken up into four tiny homes, which is conducive to teens having their own space,” Shane tells me. It wasn’t until Jack, Davis and Noah moved into their Long Beach apartment on the Fourth Street Corridor that the first Dutch Interior record was made. Even then, that album, 2021’s Kindergarten, was more a fun group project than a conscious debut. “Conner had a tape machine and he brought it over. We were all bored and would just get drunk and record songs,” Jack says, later adding, “We released it on Spotify, just for fun, for friends… Kindergarten wasn’t like an effort to record a proper album. That album just kind of fell out of us.”

Next was the detached garage in Shane’s Long Beach backyard—just a couple blocks from the Fourth Street apartment—where they recorded their second album, Blinded by Fame (2023). Dutch Interior came together there in summer of 2022, and Jack emphasizes that there were “no expectations—We were like, ‘We’re gonna release [Blinded by Fame] and play some shows, and we’re a band again. I can’t believe we’re doing this again, holy shit, after everything fell apart with [COVID].’” That record is rife with shimmering keys, twangy guitars and a lackadaisical sense of off-kilter whimsy that is distinctly Dutch. The setting can be distinctly heard on “Oscar, Please?,” which was recorded when they hot miked the backyard. “A plane flew over at the right time and made this huge bass-y crescendo underneath all of it,” Jack says. Their now-manager Dan heard Blinded by Fame and was won over, and with him on board, the guys felt even more spurred on to make the band happen.

Part of their sonic evolution was finding the right studio space that would meet Dutch Interior where they were at and push their musical boundaries without breaking them. “We didn’t really know how to move the sound forward—which has always been a very big priority for us—without making big jumps in sound, but having a nice progression and keeping our ethic very strong. So the natural solution was to build a studio,” Jack says. Hayden scouted out a location about 15 minutes from the Fourth Street apartment—still a hub of the band, since Jack, Hayden and Conner all live there—a room in a warehouse that Jack half-jokingly dubs “a classic fire hazard horror story type place.” They poured their funds into soundproofing the space in summer of 2023, working through the blazing heat with no ventilation or AC. “It was just like inhaling insulation and drywall and wood shavings in like, a 100 degree room for two months on end,” he says.

The effort was worth it—Dutch Interior had a space to call their own, and the album they crafted there, Moneyball, is their best yet. Produced by Conner, their “Don of the Studio” (in Jack’s words), the record is out via Fat Possom on March 21. Today they’ve released the closing track on the album, “Beekeeping.” Over a rush of distorted, atmospheric background noise, woozy keys saunter in and Shane croons about romantic shortcomings. When his voice reaches a particularly sweet, melancholic peak, it reminds me distinctly of the late Stephen Fitzpatrick from Her’s.

“Beekeeping” is one of two Shane-written tracks on the album, the other being the unexpected love song “Science Fiction.” Our colloquial language around love often leans into the fantastic, but as a big fan of sci-fi—as we speak, Shane is wearing a The Thing T-shirt, and his TikTok bio says “I like science fiction and playing pretend”—he wanted to look at romance through that lens instead. “I liked the idea of writing a love song that had the amazement of science fiction, but it’s still grounded in reality,” Shane explains. Cello, violin and viola creep in on “Science Fiction,” unsettling the listener until Shane shares his soft, sincere words. “I’m a ray gun / Overheating in your palm,” he sings over an acoustic guitar that feels all the more sweet and earnest when contrasted with the disquieting strings. It evolved a lot from an originally very guitar-driven demo, in the style of their earlier band Skin Mag. Conner urged Shane to take it to a stranger place, leaning into the dissonance of the background strings by singing the wrong note at the end of one of the verses. “That song changed a lot in a really cool way,” Shane recalls.

Everyone in the band writes and sings—and though Hayden doesn’t have any songwriting or vocal credits on Moneyball, the guys say it’s just a matter of time until they release a Hayden song (“He’s really into big band music, and I think that his style of crooner music is definitely going to bleed in at some point,” Jack shares, and Shane gushes: “He’s constantly writing. He’s a better pianist than I am”). There’s an astounding lack of ego when it comes to Dutch Interior, but that dedication to the communal process instead of one’s own particular vision is what makes an album from a band of half-a-dozen songwriters not just work, but sound really fucking good. “We bring songs in, and when they’re released to the band, it’s no longer your baby. It’s the band’s—we’re all of us putting our heads together with Conner as the sole producer. He’s kind of the last yes or no on things—it’s not strict, but he’s the one behind the computer, and he’s the one with the ear for miking things and making things sound the way they do. So you’re surrendering your song to Dutch as the filter,” Jack explains.

And even though they have the studio to themselves (shared with their friend Levi, who’s a studio drummer), the group are strict about their timelines. Sometimes they’ll send demos to each other beforehand, but most of the work happens in the studio without overthinking things. “We’ll just start tracking that day and sort of realize that song in real time with the band. So usually we’ll finish a song in, like, a day or two,” Noah explains. The constrained timeline is a boon to their creativity, in Shane’s eyes: “It leads to a lot of just cool discoveries and happy accidents. I think it gives a lot of the songs the raw or imperfect feel that we like so much. That’s part of it for us, for sure.”

One such happy accident was the strange instrument that Conner MacGyvered for “Sandcastle Molds”—a Jack song about how “things are built from sand and how we all think that all this is very stable and permanent, but it could fall out from under us at any moment.” He reflects, “I’m glad that song’s coming out now, because that shit is really happening.” The rattling percussion and honky tonk, MJ Lenderman-esque melody is augmented by a harmonica that’s played into a “‘60s Turner mic that has a quarter inch input into a guitar auto harmonizer pedal,” according to Jack, who explains that Conner “played it and, like, the harmonica being naturally tone-bendy, [it] kind of freaked the pedal out, and it made this crazy, scary drone noise.”

From the strained desperation of Davis’ track “Life (So Crazy)” to Conner’s happy-go-lucky country song “Horse,” Dutch Interior hit the mark when it comes to finding emotional catharsis in these incredibly weird, borderline soul-crushing times. “I think the band is this sort of shining light in a lot of our lives,” Noah tells me when I ask how they keep hope alive these days. “We’re doing something that we all love, and doing it together.” And I know Jack’s joking when he says this, but it feels more and more apt as time passes: “If Moneyball can be a soundtrack for American degradation, let’s go.”

Related Artists: Dutch Interior

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Raven Sings The Blues | Jeremy Bradley Earl – “Let The Snow Fall” « News & Press | Ground Control Touring
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News & Press

Raven Sings The Blues | Jeremy Bradley Earl – “Let The Snow Fall”

Posted 03/03/2025

A solo slice from a longtime favorite around here. There are few bands that have been on the site as long as Woods, and it’s nice to see Jeremy Earl carve out a release under his own name. The EP marks his first new release without Woods framing the songwriting in nearly 20 years. While the new tracks certainly share a kinship, and Earl’s unmistakable high, plaintive croon with the band, there’s a simple tenderness to “Let The Snow Fall,” that marks this as something of its own. The new EP accompanies an East Coast tour with Daniel HIggs, making a couple of stops locally at Tubbys and hitting dates from Maine to DC with other faves like Matt Valentine and Matt Lajoie opening. Check out the hazy video to accompany the song’s sun-warmed sway. The new EP, Four Songs, is out March 17th from Woodsist. Tour starts, March 20th.

Related Artists: Jeremy Bradley Earl

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Stereogum | Woods’ Jeremy Bradley Earl Shares Debut Solo Single “Let The Snow Fall” « News & Press | Ground Control Touring
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Stereogum | Woods’ Jeremy Bradley Earl Shares Debut Solo Single “Let The Snow Fall”

Posted 03/03/2025

For about two decades, Jeremy Bradley Earl has led the rambling, bucolic Brooklyn indie-folk band Woods. (If his name doesn’t look familiar, that’s probably because he hasn’t always used the “Bradley.”) Last year, Woods release the surprise EP Five More Flowers Now, Earl is setting off on his own, at least for now. Later this month, Earl will release a new solo EP called Four Songs, and he’ll also head out on a run of solo dates. Those two endeavors represent his first time ever releasing music and playing shows under his own name.

Along with the EP announcement, Jeremy Bradley Earl has shared “Let The Snow Fall,” his first-ever solo track. It’s a tender and pretty work of lo-fi psychedelia that easily could’ve come out under the Woods name. It’s got more piano than any Woods song I can remember. But if you like that band’s spaced-out campfire boogie, then you will like this one.

At most of his upcoming solo shows, Kevin Bradley Earl will serve as co-headliner, along with former Lungfish leader Dan Higgs. Those shows should be cool. Below, check out “Let The Snow Fall,” the Four Songs tracklist, and Earl’s tour dates.

TRACKLIST:
01 “Days Turn Around”
02 “Let The Snow Fall”
03 I Know A Better Place”
04 “Deep Water For Ed”

Related Artists: Jeremy Bradley Earl

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Ground Control Welcomes Olivia O. « News & Press | Ground Control Touring
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News & Press

Ground Control Welcomes Olivia O.

Ground Control Welcomes Olivia O.

Posted 02/27/2025

For 99% of artists, the music industry is a meat grinder, constantly whirring, forever hungry for something fresh to pulverize. At only 22, Olivia Osby knows this better than most; a semi-public figure online since she was 14 , breaking through with her band Lowertown at 18, Osby has been around the block enough times to have met her fair share of people who want to optimize her art and on-sell her dreams. It’s enough to break anyone – which makes it all the more remarkable that No Bones, Sickly Sweet, her self-released second album as Olivia O, is less a capitulation to the immense pressures that the industry places on its young female stars as much as an outright rejection of them. It embraces the things we’re taught to reject – pain, boredom, quiet – and uses them as fuel for an album that’s at turns raw, upsetting and profoundly beautiful.

Existing firmly in a canon of defiant outsider musicians that stretches from Linda Perhacs and Karen Dalton through to Alex G and Salvia Palth, No Bones, Sickly Sweet is a strident statement of Olivia’s resilience as well as a love letter to the rich, restorative power of DIY music. Almost entirely written, recorded, produced,mixed, and mastered by Olivia – her Lowertown bandmate Avsha Weinberg contributes to a handful of tracks, and Sean Henry plays on one song – No Bones, Sickly Sweet is haunting and strange, uncomfortable and, ultimately, invigorating, for both listener and author.

Written and recorded during stints in New York and her hometown of Atlanta over the past few years, the revelations contained within No Bones, Sickly Sweet stem from feelings of isolation and boredom that Olivia consciously found herself working to sit with, rather than escape or distract herself from. This is music for loners through and through, concerned with phantom stalkers and personifications of feelings like dread and self-loathing. “This album is very personal and vulnerable – a lot of it was made during periods of spending excessive time by myself,” she says. “It’s me trying to confront things that I’ve been avoiding, and sort of a retaliation against things I’ve been feeling really grossed out or confined by.”

Some of those things, like jealousy or comparison, are rendered vividly on No Bones, Sickly Sweet, Olivia’s stark songwriting style illuminating feelings that might otherwise be seen as ugly or unpalatable. “One Hit Wonder,” a hypnotic dirge led by Olivia’s discordant guitarwork, reckons with her desire to be liked by her peers and fans, slipping down a black hole of self-loathing into speculation on what would happen if she were to one day blow up her whole career onstage. “There’s a weird power you have in that one moment of destroying yourself, where it’s all on your own terms,” she says. “Most people are scared to risk destruction, and they’ll do anything to have self-preservation, even if it’s at the cost of being their true selves.” True to that idea, No Bones, Sickly Sweet is named for the kind of product churned out by artists who sell their souls to the industry: easily digestible Content, devoid of integrity or real feeling.

The kinds of intrusive thoughts chronicled on “One Hit Wonder” crop up throughout No Bones, Sickly Sweet. On the intense, angular “Roof Song,” written on her roof in New York, Olivia writes about a “demon guy” who haunted her for weeks during a deep depression, who “just hated me and every single thing I’d say.” “Rejection,” also written in New York, is about the deep sense of alienation Olivia felt in the city, in comparison to the warmth she feels in the South. “A lot of my closest friends that I love felt really distant from me, and instead of being a logical person and being like ‘They’re probably going through something’, I always turn it on myself,” she says.

The relative darkness of No Bones, Sickly Sweet is counteracted by songs of immense beauty whose radiance is undeniable, even as they toy with ideas of romance and compulsion, friendship and jealousy. “My” plays like a lullaby left to rot and decompose in the sun, its remembrances of past joys tempered by memories of toxic relationships and images of a face “on TV, twisted, buttered up, bright, smooth, shiny.” “Betty” is the kind of harsh obsession song that would make Courtney Love proud, Olivia singing not-so-sweet nothings to the song’s titular fixation with a menacing growl. These songs confront unhealthy feelings with grace and reality, never shying away from the everlasting challenge of finding a sense of humanity in a world that encourages hatred and resentment.

That feeling is never more clear than on “Hole,” a rare moment of self-determination on an album otherwise interested in the way that hitting rock bottom can reveal truths about daily life. It contains the album’s closest thing to a singalong chorus: “I’d rather roll over into a hole in the ground/Than let you touch me now.” There’s something raw, practically fatalistic, about that idea – that sometimes asserting yourself can look like a step backwards, rather than a leap forwards – but there’s a liberating truth in that feeling, an idea that seems to speak to No Bones, Sickly Sweet as a whole. I used to think my songs felt boring or amateur because they were simple,” Olivia says. “While writing this album I returned to the innocent simplicity of my earlier music – approaching it with minimalism in mind, only adding to a song if it had a purpose, forcing myself not to overcomplicate out of insecurity. I wasn’t going to pressure myself to add more because I felt like a song was too simple, or to assert that I’m a ‘real musician’. I’m a real musician if I just write a song with one chord.”

Related Artists: Olivia O.

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Ground Control Touring Welcomes J.R.C.G.! « News & Press | Ground Control Touring
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News & Press

Ground Control Touring Welcomes J.R.C.G.!

Ground Control Touring Welcomes J.R.C.G.!

Posted 02/21/2025

To experience Justin R. Cruz Gallego’s pulverizing Sub Pop debut is to get burned down to ashes and burst forth, born anew. Grim Iconic…(Sadistic Mantra), the Tacoma-based artist’s second album, is driven by opposing forces: noisy abstractions and tightly structured beats, anguish and dissolution at the outside world and empowerment within, apathy and catharsis. Grim Iconic…(Sadistic Mantra) weds scouring electronics to hooky songs and Gallego’s powerful drumming in a way that feels visceral and new. It’s his most personal statement to date, at once playful and intent, driven and combustible, total fucking chaos mixed into glints of broken-glass beauty.

Born in Tucson, Arizona, Gallego experienced culture shock as a child after relocating to the frigid climes of the Pacific Northwest. He found solace in the Seattle punk scene centered around Iron Lung Records and has since remained a fixture in the underground community.

“I see this record as first and foremost a musical statement,” Gallego says. “I grew up in punk and DIY subcultures, but before that I had Latin music playing in the background through my childhood and every phase of adolescence. It was surprisingly natural to incorporate. I realized I wanted to go deeper into these rhythms. I wanted to make a record that felt as experimental as much as it felt from the perspective of a Latino. When I got a glimmer of that possibility, it felt exciting.”

“Drummy” launches J.R.C.G. beyond the sound of the project’s 2021 debut, Ajo Sunshine, marrying that album’s noisy experimentalism to a newfound focus on rhythm. “It was the first song I wrote for Grim Iconic. To me, it’s the very next scene after the last album closes. ‘Drummy’ married the two approaches and pushed it into this next sequence of songs.” Fascinating amalgams of visceral rhythms and incandescent noise permeate Grim Iconic… (Sadistic Mantra), from the looping hand drums of “34” to the Funhouse-meets-Tropicália blasts of “World i.” It all embraces a sense of freedom while facing modernism.

“Dogear” is a face-melting party starter that sounds like someone forced Talking Heads and Rudimentary Peni to share a practice space. “I wanted a song that felt playful in the way it attempted to be dissonant without taking itself too seriously,” Gallego says. “Cholla Beat” is even more ambitious, an anthemic mix of WAR and Wire led by unruly synthesizers spiraling down a labyrinth of production.

Gallego’s influences for the album are vast, ranging from British documentary filmmaker Adam Curtis to electric Miles Davis to audio miscreants like Demdike Stare and Oneohtrix Point Never. But it’s Gallego’s assured sonic vision that resounds the loudest. And, while J.R.C.G. is a solo project, conceived and executed primarily in Gallego’s home studio, he found strength in opening the project to others, starting with Seth Manchester as co-producer. Manchester’s penchant for bone-rattling frequencies, as seen in his production work with The Body, Battles, and Mdou Moctar, made him a natural fit for Gallego. Together, they retained the intimacy of Gallego’s home recordings while taking advantage of the hi-fi stylings of his Machines With Magnets Studio in Rhode Island. The closing song, “World i,” offers a glimpse into the live experience of Grim Iconic…(Sadistic Mantra), with upwards of seven band members blasting off. The album features a fascinating mix of supporting players, many of whom cycle through J.R.C.G.’s live lineup: Morgan Henderson (The Blood Brothers, Fleet Foxes), Jason Clackley (Dreamdecay, The Exquisites), Jon Scheid (Dreamdecay, U Sco), Erica Miller (Casual Hex, Big Bite), Veronica Dye (Terminator) Phil Cleary (U Sco), and Alex Gaziano (Dreamdecay, Kidcrash, Science Amplification).

Taken as a whole, G.I.S.M. is a whirlwind of sound, pummeling, and cleansing. It’s a sweaty, thrilling aural adventure and, like a great basement show, it’ll leave you breathless, exhausted, and wanting to repeat it all over again. As any good mantra should.

Related Artists: J.R.C.G.

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Ground Control Touring Welcomes Lowertown! « News & Press | Ground Control Touring
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News & Press

Ground Control Touring Welcomes Lowertown!

Ground Control Touring Welcomes Lowertown!

Posted 02/20/2025

Lowertown, the duo of Avsha Weinberg and Olivia Osby, first met in high school math class. They sparked a friendship when Avsha looked over Olivia’s shoulder to see what music she was playing on her laptop, bonding over a shared love of Alex G and The Microphones. They traded influences, and eventually, demos, releasing their first ever single as Lowertown in 2018 before they’d graduated high school. “It was trial by fire,” remembers Olivia, the band’s distinct and off-kilter style initially proving to be an obstacle to fitting in on local bills, but their 2019 debut Friends set things in motion.

From the beginning, their approach to collaboration was shaped by their differing backgrounds. Olivia spent her formative years writing poetry, while Avsha took up classical piano at age 4. The interplay between Olivia’s intuitive approach and Avsha’s measured attention to detail is central to the sound of Lowertown.

Within a short period of the time the duo had signed to a label, and hit the road supporting Wet Leg, quickly followed by a run with Porches, and a national tour with label mates and friends Beabadoobee.

Across three albums, the band’s sound has expanded from their initial indie folk offerings to include flashes of electronica, jagged punk, and beautiful atmospherics. Mood has always been key to the sound of Lowertown, the singular interplay between Olivia & Avsha’s alternatingly raw and melodic vocals playing out over freeform songwriting that Pitchfork described as “fascinating.”

They are now gearing up to go on their first US headline tour. They plan to release their highly anticipated 4th album. The album was entirely written, performed, and produced by the duo in Avsha’s Brooklyn apartment.

Related Artists: Lowertown

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Ground Control Touring Welcomes Fishbone « News & Press | Ground Control Touring
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News & Press

Ground Control Touring Welcomes Fishbone

Ground Control Touring Welcomes Fishbone

Posted 02/19/2025

Fishbone is a band. Fishbone is Red Hot.

Starting in Junior High School as part of the bussing program transporting students to schools within or outside their local school districts as a means of rectifying racial segregation, Fishbone were breaking stereotypes.

This essentially was the spark that started the bands creative and influential drive that would lay the foundation that other bands would follow for decades to follow. Born out of the punk rock scene of Los Angeles, CA, Fishbone came out as a force of songs and live energy leaving bands not wanting to follow them. A feeling that continues today.

Signed to Columbia Records in 1984, Fishbone released 4 albums and 3 ep’s and toured the world headlining shows, festivals and leaving people stunned and still one of the best shows ever seen. A constant statement that still is used today from fans to artists that shared the stage with them.

After years of touring and rotating members, Fishbone in 2025 is back to their most solid line up which includes original members, Angelo Moore (vocals/Saxophone), Chris Dowd (Keys/Vocals) rounding it out with John “JS” Williams (Trumpet/Vocals) drummer, Hassan Hurd, Aroyn Davis and the return of Trace “Spacey T” Singleton on guitar.

With their last critically and fan acclaimed EP recorded produced by Fat Mike of NOFX that came out on Fat Wreck Chords in 2023, in 2024, Fishbone is getting ready to reclaim their live touring throne, leave the audience wanting more, thinking more, influencing younger bands, and paving the foundation and legacy they have been laying for decades.

With their latest single “Racist Piece of Shit” coming out ahead of the 2024 Elections and creating much controversy and praise as Fishbone ahs done for Decades, they will be following up with their new album, “Stockholm Syndrome” coming in early 2025 #FuckRacism

Related Artists: Fishbone

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Ground Control Touring Welcomes Lip Critic « News & Press | Ground Control Touring
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News & Press

Ground Control Touring Welcomes Lip Critic

Ground Control Touring Welcomes Lip Critic

Posted 02/18/2025

New York based band Lip Critic is the project of Bret Kaser, Connor Kleitz, and Danny Eberle. The band is comprised of two samplers, two drummers and vocals. Through their untraditional
instrumentation, Lip Critic executes an eclectic blend of punk, hardcore, club, modernistic pop sounds, and structures without inhibition. Paired with eccentric grandstand-style vocals, Lip
Critic delivers a uniquely engaging live performance that rivals the hyper-stylized production on their records. These performances are heavily focused on improvisation and experimentation, including extended and remixed versions of songs. After self-releasing three projects from 2019 to 2021, Lip Critic’s debut album Hex Dealer was released on Partisan Records in May 2024. Lip Critic has earned early critical acclaim from NME (“on their way to becoming the next great NYC band”), Paste (“an apocalyptic wasteland of NYC’s best underground punk”), Rolling Stone (‘Songs You Need to Know’), Rolling Stone UK (‘Ones to Watch 2024’), Loud & Quiet (“one of NYC’s most talked about acts.”), Billboard, Mary Anne Hobbs on BBC 6 Music, and Matt Wilkinson (“totally essential”).

Related Artists: Lip Critic

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GCT is hiring! « News & Press | Ground Control Touring
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News & Press

GCT is hiring!

GCT is hiring!

Posted 02/10/2025

Ground Control Touring is looking to hire an Agency Associate in our Brooklyn office!

Interested applicants are encouraged to submit a cover letter & resume to jobs@groundcontroltouring.com.

—

The Agency Associate will perform a wide variety of duties in support of their Agent supervisor. These duties will include (but are not limited to) the following:
· Assisting Agent with all facets of tour booking.
· Coordinating and booking fill dates for Agent clients.
· Managing the flow of holds, offers, tour announcements, contracts, and deposits.
· Entering extensive event and deal information into our database.
· Interacting with client teams (managers, labels, publicists, touring crew).
· Monitoring ticket sales, evaluating tour marketing plans and executing promotional strategies in tandem with Agency tour marketing efforts.

Applicants should possess the following skills/experience:
· 2-3 years music industry experience is required, ideally in a booking or live entertainment setting that involves familiarity with settlement sheets and complex artist deal structures.
· Bachelor’s degree preferred
· Prior office/administrative experience required
· Strong excel and math proficiency
· Strong (Mac) computer and Internet skills
· Exceptional written and verbal communication skills
· Strong organizational and analytic skills, and a passion for accuracy and proactive problem solving.

—

The ideal candidate for these roles is someone who is professional and personable, able to multitask effectively (while prioritizing time-sensitive projects), attentive to details both large and small, and has a familiarity with our roster.

This is a fast-paced office. We run a tight ship, but are also avid show-goers and music fans. We hope the individuals who join us will be music lovers who are as committed as we are to the development of our artists’ careers.

—

Ground Control Touring is a boutique booking agency with offices in Brooklyn, NY, Los Angeles, CA and Portland, OR. We represent a diverse roster of acts which includes Ani DiFranco, Conor Oberst, Deafheaven, Ginger Root, Gregory Alan Isakov, Japanese Breakfast, Kikagaku Moyo, Kim Gordon, Kurt Vile, Parquet Courts, Manchester Orchestra, Men I Trust, Shannon & The Clams, Surf Curse, The Front Bottoms, Whitney and many others.

This is a full-time position with eligibility for company-sponsored benefits. Compensation begins at $47,500 annually but is open to fluctuation based on candidate experience.

Actual base salary is dependent on several factors including but not limited to: market dynamics, experience, specialized skills/training (education), level of responsibility, budgetary considerations, tenure at the company (for current employees), etc. The salary range listed is just one circumstantial element of the total compensation package for employees.

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Ground Control Welcomes Coldwave « News & Press | Ground Control Touring
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News & Press

Ground Control Welcomes Coldwave

Ground Control Welcomes Coldwave

Posted 01/30/2025

Australian six-piece Coldwave is a frantic yet tightly controlled blend of jagged guitars, booming horns and uncompromising vocal delivery that captures the abstract in life’s most mundane moments.

Coldwave is Harry Evans (he/him) vocals, Kiran Memisoglou (he/him) guitar, Anthony Griffin (he/him) guitar/vocals, Jordan Maywald (he/him) drums, Sean McGowan (they/them) trumpet/synth/vocals, Lara Patzel (she/they) bass. Formed in 2020 from the ashes of two beloved Adelaide post-punk outfits, the band has evolved rapidly in just four years – welcoming new collaborators, exploring experimental instrumentation, and building a national audience.

The band was named Triple J Unearthed’s feature artist ahead of their performance at Adelaide’s 2023 Laneway Festival, seeing them share a bill with the likes of Fontaines D.C. and Turnstile. They showcased at BIGSOUND the same year to critical acclaim, with Dave Ruby Howe applauding the band for “delivering heavily to a big room which seemed to have caught wind that something was cooking… every member of the band vying for your eyes with intense noodling, rumbling rhythm section and demonic trumpet”.

Wielding a sound described as “post-punk pulse accelerant”, Coldwave’s EPs ‘Same Window, Different House’ and ‘No Conflict’ were met with glowing praise, the title track of the former touted as “precise in [its] chaos” (Dave McCarthy, Laundry Echo) and “like being plunged into an ice bath and set on fire” (Abby Butler, Triple J).

Off the back of a year supporting industry heavyweights including Citizen, Pond and RVG, Coldwave’s upcoming release ‘The Ants / Italia ‘06’ sees the band exploring influences fresh and familiar. The two-track EP was produced and recorded by Bonnie Knight (2024 AIR Independent Producer of the Year – Amyl & The Sniffers, Angie McMahon, ENOLA) and mixed by James Trevascus (Nick Cave & Warren Ellis, Billy Nomates, RVG).

Tightly coiled, ‘The Ants’ unwinds itself like an emo-tinged prequel to the band’s 2021 single ‘Plagiarise’. “We returned to a really comfortable place writing this song,” says vocalist Harrison Evans. “It’s built around reminiscing on childhood, and is a bit of a soul-searching expedition around the realisation that you’re one of many”.

Meanwhile, ‘Italia ‘06’ pushes new boundaries – a patchwork quilt of ideas that introduces saxophone and experimental percussion in a genre-busting slice of mayhem. “This song is more narrative-based,” Harrison explains. “We were thinking about the Aussie battler – someone who feels hard done by in a social or cultural bubble where life is actually pretty good. It evolved into referencing heartbreak over a penalty wrongly awarded to Italy in the 2006 World Cup. It’s a moment that ‘broke Australia’”.

Related Artists: Coldwave

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News & Press

Ground Control Touring Welcomes Bardo!

Ground Control Touring Welcomes Bardo!

Posted 01/28/2025

As lead songwriter and vocalist for Chicano Batman, Bardo has toured around the US and EU. His upcoming solo debut on Stones Throw Records, set for release in 2025, highlights a new phase in his career with some of his most exciting and compelling work to date.

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Ground Control Touring Welcomes Nuovo Testamento! « News & Press | Ground Control Touring
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Ground Control Touring Welcomes Nuovo Testamento!

Ground Control Touring Welcomes Nuovo Testamento!

Posted 01/28/2025

The Los Angeles-based trio, Nuovo Testamento, is lighting up the dance floor with their uniquely dark italo disco-flavored pop hits. Following the release of the coldwave cult favorite Exposure EP in 2019 on Avant! Records, their acclaimed full length, New Earth, exploded onto the scene with its graceful touch of 1980s-influenced club elements, contagious rhythms and the powerful punch of synthpop. The release was widely considered across genres to be one of 2021’s best underground albums. With the release of their highly anticipated second LP in early 2023, Love Lines, Nuovo Testamento continued to explore the light, the dark and exultant personal power in what will undoubtedly become an instant dance classic. Following a celebrated remix for Scowl and full North American tours supporting the Soft Moon and Molchat Doma, Nuovo Testamento is on tour in the US and Europe throughout 2024.

Related Artists: Nuovo Testamento

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Brooklyn Vegan | Dutch Interior announce new album & tour, share “Fourth Street” « News & Press | Ground Control Touring
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Brooklyn Vegan | Dutch Interior announce new album & tour, share “Fourth Street”

Posted 01/27/2025

Los Angeles band Dutch Interior have announced their new album, Moneyball, which will be out March 21 via Fat Possum (it’s their first for the label). It was produced by the band’s Connor Reeves at their Long Beach studio and mixed by Phil Ek (Modest Mouse, Built to Spill, Duster). “We wanted to acknowledge that we exist in a tradition of American music and take that to places that are personal to us,” the band say. “It’s like we renovated an old house and then invited people in.”

The first single from the album is “Fourth Street,” a warm and sludgy country number that mixes ragged riffs and gentle melodies. Says Noah Kurtz, who wrote and sings this one, “‘Fourth Street’ found its conception after a holiday trip visiting my parents. Starting off with a rambling recollection of feelings and personal anecdotes that come with living far away from loved ones, the song eventually builds to a chorus that’s about finding your footing on your own. Instrumentally, it was written with the intention of being a simple three-chord Americana rock song with a ratty, bubblegum chewing drum beat, whiny screaming lead guitar, and a cathartic a-rhythmic ending.”

Dutch Interior will be on tour later this year, including an LA show opening for Acetone and dates supporting Frog and Lowertown.

Related Artists: Dutch Interior

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Paste Magazine | Dutch Interior Announce Debut Album, Release “Fourth Street” « News & Press | Ground Control Touring
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Paste Magazine | Dutch Interior Announce Debut Album, Release “Fourth Street”

Posted 01/27/2025

Moneyball will arrive March 21 via Fat Possum.

By Matt Mitchell | January 27, 2025 | 11:20am

Dutch Interior Announce Debut Album, Release “Fourth Street”

Dutch Interior, the LA County-based band of Jack Nugent, Conner Reeves, Davis Stewart, Noah Kurtz and brothers Shane and Hayden Barton, have announced their debut album, Moneyball, produced by Reeves and mixed by Phil Elk (Modest Mouse, Duster). I dig this band because I know nothing about them yet I’ve enjoyed everything they’ve put out so far. The new LP is set to release via their label home, Fat Possum, on March 21. In 2024, we premiered the band’s single “Ecig” and, while it won’t be featured on the record, Dutch Interior have already gifted us one piece of the puzzle, the incredibly fascinating “Sandcastle Molds,” a psychedelic, thumping track where the band’s mystique could simmer. Now, they’ve pointed their arrow at lead single “Fourth Street,” a dreamy, scaled-back and slow-burn indie-rock song. It’s got a little bit of three-chord magic in there, and a multi-part chorus that it builds out of a blasé lead vocal. That faint pedal steel melody that whimpers deep in the arrangement is particularly gorgeous. I know it’s still January, but “Fourth Street” has some serious SOTY energy.

Kurtz says of “Fourth Street,” “[The song] found its conception after a holiday trip visiting my parents. Starting off with a rambling recollection of feelings and personal anecdotes that come with living far away from loved ones, the song eventually builds to a chorus that’s about finding your footing on your own. Instrumentally, it was written with the intention of being a simple three-chord Americana rock song with a ratty, bubblegum chewing drum beat, whiny screaming lead guitar, and a cathartic a-rhythmic ending.”

Moneyball Tracklist:
Moneyball
Canada
Sandcastle Molds
Wood Knot
Science Fiction
Sweet Time
Life (So Crazy)
Fourth Street
Horse
Christ on the Mast
Beekeeping

Dutch Interior’s Upcoming Tour Dates:
Fri. Feb. 21 – Los Angeles, CA The Regent % Mon. Mar. 10 – Fri. Mar. 14 – Austin, TX SXSW
Sat. Mar. 22 – Los Angeles, CA The Echo* Sun. Mar. 23 – San Francisco, CA Bottom Of The Hill*
Tue. Mar. 25 – Seattle, WA Black Lodge* Wed. Mar. 26 – Vancouver, BC Fox Cabaret*
Thu. Mar. 27 – Portland, OR Mississippi Studios* Fri. Mar. 28 – Boise, ID Treefort Music Festival
Sun. Apr. 6 – San Diego, CA Voodoo Room^ Tue. Apr. 8 – Phoenix, AZ Rebel Lounge^
Thu. Apr. 10 – Austin, TX Mohawk^ Fri. Apr. 11 – San Antonio, TX Paper Tiger^
Sat. Apr. 12 – Houston, TX Wonky Power^ Sun. Apr. 13 – Denton, TX Rubber Gloves^
% supporting Acetone *supporting Frog
^supporting Lowertown

Related Artists: Dutch Interior

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Stereogum | Dutch Interior – “Fourth Street” « News & Press | Ground Control Touring
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News & Press

Stereogum | Dutch Interior – “Fourth Street”

Posted 01/27/2025

Los Angeles indie/alt-country crew Dutch Interior have announced a new album, Moneyball, their first for Fat Possum. Recorded over a six-month period in the band’s Long Beach studio, Moneyball was produced by the band’s Conner Reeves and mixed by Phil Ek (Modest Mouse, Fleet Foxes). It’s out in March and features the lead single “Fourth Street,” which also has a video.

“‘Fourth Street’ found its conception after a holiday trip visiting my parents,” says singer and guitarist Noah Kurtz. “Starting off with a rambling recollection of feelings and personal anecdotes that come with living far away from loved ones, the song eventually builds to a chorus that’s about finding your footing on your own. Instrumentally, it was written with the intention of being a simple three-chord Americana rock song with a ratty, bubblegum chewing drum beat, whiny screaming lead guitar, and a cathartic a-rhythmic ending.”

Meanwhile, the Dutch Interior also have a self-directed and edited video for “Fourth Street.” “We find ourselves looking back in desperation for something that’s gone and never really coming back,” the band says. “Through the eyes of the viewer it’s easy to watch the innocence of childhood decay as we desperately cling through the bias of our memories.”

TRACKLIST:
01 “Canada”
02 “Sandcastle Molds”
03 “Wood Knot”
04 “Science Fiction”
05 “Sweet Time”
06 “Life (So Crazy)”
07 “Fourth Street”
08 “Horse”
09 “Christ On The Mast”
10 “Beekeeping”

TOUR DATES:
02/21 – Los Angeles, CA The Regent % 03/10 – Fri. Mar. 14 – Austin, TX SXSW
03/22 – Los Angeles, CA The Echo* 03/23 – San Francisco, CA Bottom Of The Hill*
03/25 – Seattle, WA Black Lodge* 03/26 – Vancouver, BC Fox Cabaret*
03/27 – Portland, OR Mississippi Studios* 03/28 – Boise, ID Treefort Music Festival
04/06 – San Diego, CA Voodoo Room^ 04/08 – Phoenix, AZ Rebel Lounge^
04/10 – Austin, TX Mohawk^ 04/11 – San Antonio, TX Paper Tiger^
04/12 – Houston, TX Wonky Power^ 04/13 – Denton, TX Rubber Gloves^

Moneyball is out 3/21 via Fat Possum.

Related Artists: Dutch Interior

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Stereogum | Alabaster DePlume – “Oh My Actual Days” « News & Press | Ground Control Touring
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Stereogum | Alabaster DePlume – “Oh My Actual Days”

Posted 01/22/2025

Experimental jazz/pop artist Alabaster dePlume has announced a new album, A Blade Because A Blade Is Whole, coming in March. The project is described as a “poetic philosophy and avant-jazz collage” and follows last year’s Cremisan: Prologue To A Blade EP and a poetry book, Looking for my value. Along with the album announcement, dePlume has shared a lead single, “Oh My Actual Days,” which has a video directed by artist Rebecca Salvadori, who also shot the album cover.

A blade, because a blade is whole, it has forgiven itself, and because it will take a small piece of our opposite, for us to be complete. A blade has marked out these former selves on my hand, a blade made the lines that divine us and the blade is whole. A blade. While I forgive myself, and heal, and lead us in healing. We can only forgive each other once we forgive ourselves. We can only heal each other while we heal ourselves.

TRACKLIST
01 “Oh My Actual Days”
02 “Thank You”
03 “Invincibility”
04 “Form a V”
05 “A Paper Man
06 “Who Are You Telling, Gus”
07 “Prayer For My Sovereign Dignity”
08 “Kuzushi”
09 “Salty Road Dogs Victory Anthem”
10 “Too True”
11 “That Was My Garden”

Related Artists: Alabaster dePlume

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Brooklyn Vegan | Alabaster DePlume announces new album & tour, shares “Oh My Actual Days” « News & Press | Ground Control Touring
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Brooklyn Vegan | Alabaster DePlume announces new album & tour, shares “Oh My Actual Days”

Posted 01/22/2025

UK jazz and art pop musician Alabaster DePlume has announced a new album, A Blade Because A Blade Is Whole, due March 7 via International Anthem (pre-order). About the title, he says:

A blade, because a blade is whole, it has forgiven itself, and because it will take a small piece of our opposite, for us to be complete. A blade has marked out these former selves on my hand, a blade made the lines that divine us and the blade is whole. A blade. While I forgive myself, and heal, and lead us in healing. We can only forgive each other once we forgive ourselves. We can only heal each other while we heal ourselves.

In an essay by Liz Pelly accompanying the album, Alabaster added, “When I meet people who love my work I ask them, ‘what do people need?’ Many of them were answering ‘healing’, so I worked on that, first of all by healing myself. I found that it was an activity I could choose, and that it had a lot to do with my ownership of myself, dignity and independence. Instead of waiting for healing to ‘happen to me’ I could heal myself and own myself. That is what this album is.”

The first single is the minimal, quietly-stirring “Oh My Actual Days,” a colloquialism that Alabaster says is the British equivalent to “oh my f-ing god.” He continues, “We can, if we choose, read this phrase as a call to the divinity of the moment we are in. Wherever we are, whatever is happening, it is our own life – a life that is made up of the time (the days – the actual days) that we spend. And we call to this – the only real thing that we have. Our time. Whatever we are experiencing it belongs to us, it is the ‘actual’ moment we are in. And it is divine. This is the introduction to the album.”

The new song comes with a video directed by Rebecca Salvadori, who also shot the album cover. Check it out below.

Alabaster also announced a tour, and his band on the US dates will feature Shahzad Ismaily and more TBA. Opening sets on that tour will come from Patrick Shiroishi. Things kick off in Philly on March 14, followed by New York shows on March 15 at Tubby’s in Kingston and March 16 at Le Poisson Rouge in NYC. All dates are listed below.

Related Artists: Alabaster dePlume

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Pitchfork | Alabaster DePlume Announces Tour and New Album, Shares Video for New Song: Watch « News & Press | Ground Control Touring
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Pitchfork | Alabaster DePlume Announces Tour and New Album, Shares Video for New Song: Watch

Pitchfork | Alabaster DePlume Announces Tour and New Album, Shares Video for New Song: Watch

Posted 01/22/2025

The British jazz artist Alabaster DePlume has announced the new album A Blade Because a Blade Is Whole, which will get released, via International Anthem, on March 7. The album includes DePlume’s 2023 “Salty Road Dogs Victory Anthem” and a new track called “Oh My Actual Days.” The latter arrives today with a music video directed by Rebecca Salvadori. Find it below.

DePlume produced his new album, and he recorded it with various musicians at London’s Total Refreshment Centre. Contributors to A Blade Because a Blade Is Whole include: electric guitarist Conrad Singh, drummers and vocalists Donna Thompson and Momoko Gill, cellist Hannah Miller, pianist John Ellis, violinists Macie Stewart and Mikey Kenney, and bassists Rozi Plain and Ruth Goller.

DePlume preceded his album, last year, with an EP called Cremisan: Prologue to a Blade and a poetry book called Looking for My Value: Prologue to a Blade. Discussing the new album’s title, the London-based artist explained: “A blade, because a blade is whole, it has forgiven itself, and because it will take a small piece of our opposite, for us to be complete. A blade has marked out these former selves on my hand, a blade made the lines that divine us and the blade is whole. A blade. While I forgive myself, and heal, and lead us in healing. We can only forgive each other once we forgive ourselves. We can only heal each other while we heal ourselves.”

Beginning in March, DePlume will go on tour in support of A Blade Because a Blade Is Whole. For his U.S. shows, he’ll be performing with multi-instrumentalist Shazad Ismaily and others. In the United Kingdom and Europe, DePlume’s band features percussionist Julian Sartorius, drummer Seb Rochford, bassist Ruth Goller, and string player Mikey Kenney. See the tour dates below.

A Blade Because a Blade Is Whole is DePlume’s first studio album since 2023’s Come With Fierce Grace. Revisit the Rising interview “Jazz Poet Alabaster DePlume Isn’t Afraid to Ask the Biggest Questions.”

Related Artists: Alabaster dePlume

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Ground Control Touring Welcomes shower curtain « News & Press | Ground Control Touring
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News & Press

Ground Control Touring Welcomes shower curtain

Ground Control Touring Welcomes shower curtain

Posted 01/22/2025

shower curtain started as the solo project of Victoria Winter in 2018 in Curitiba, Brazil, and has since developed into a indie rock four piece based out of Brooklyn, NY alongside Ethan Williams (guitar/vocals), Sean Terrell (drums), and Cody Hudgins (bass). shower curtain brings dreamy melodies to the forefront of their music, bolstered by instrumental distortion and insulated by fuzz. Their debut album ‘words from a wishing well’ was released in October 2024 via Angel Tapes/Fire Talk Records, sketching early adulthood experiences in swirling layers of guitars, bringing the sludgy distortion of 90s shoegaze and grunge and establishing shower curtain as a standout in the city’s latest crop of bands.

Related Artists: shower curtain

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Ground Control Touring Welcomes lots of hands « News & Press | Ground Control Touring
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News & Press

Ground Control Touring Welcomes lots of hands

Ground Control Touring Welcomes lots of hands

Posted 01/16/2025

into a pretty room — lots of hands’ debut on Fire Talk Records — exists in the tear-stained early mornings of adolescence, just as the sun makes its first appearance over the horizon and thoughts of the night before begin to subside. A collage of reworked demos, freewheeling session standouts, and swatches of instrumental electronics, into a pretty room emerges as lots of hands’ most thoughtful work to-date. Solemn yet hopeful, into a pretty room occupies the space between moments of tragedy and triumph, offering a touching rumination on grief and loss, growing up and letting go.

Billy Woodhouse and Elliot Dryden, the core duo behind lots of hands, first connected in a Newcastle school music program at age 16. At that point, Woodhouse had been tinkering with lots of hands as a solo musical outlet, self-releasing music on Soundcloud and quietly beginning work on 2020’s mistake. Shortly before that record’s release, Dryden properly joined lots of hands, an effort which was quickly thwarted by global circumstances outside of anyone’s purview. Separated by geography and global chaos, Woodhouse and Dryden began work on lots of hands remotely, exchanging demos online to craft what would become 2021’s largely instrumental there’s someone in this room just like you, and 2023’s cult favorite fantasy. into a pretty room marks the duo’s first truly collaborative effort, with Dryden often trekking the vast northern English countryside to write and record in Woodhouse’s bedroom studio.

Between pints of beer and rounds of Fortnite, the two slowly chipped away at into a pretty room, whose name is lifted from a pair of demos recorded and released in a short span across November of 2023. The earnest tenderness of these tracks — “into a pretty room” and “the rain”, which appear newly re-recorded for the album — served as guiding light while the duo self-engineered the remainder of into a pretty room. Alongside these newly recorded songs appear Dryden’s unearthed demos, mined and reworked by Woodhouse. Lead single “game of zeroes” puts Dryden front and center on a Hank Williams-inspired ode to coming up short. “I play a game of zeroes,” he sings atop acoustic guitar, piano and digital frills, “Everyone but me will always win.” Elsewhere, “masquerade” interrogates defense mechanisms through electronic-speckled indie folk that is both jaded and joyful.

Dryden’s tracks appear alongside Woodhouse’s own songs, which span from touching instrumentals written for family, meant to help usher them through a chapter of monumental loss, to whispered ballads sung with loved ones. “All of my friends agree, you’re in my head,” Woodhouse intones alongside close collaborator and former roommate Mage Tears, “in my head with me.” On the understated late album stunner, “run your mouth,” he imagines a lost one as “a bunch of stars,” and ends the song fixated on “thoughts and memories of us.” Woodhouse’s contributions across into a pretty room ache with loss, but settle gracefully into sparkling ambient sonics that propel the record on its trajectory of self-discovery and acceptance. “Death is just a word, the feelings a reminder of past nights in the cold,” he filters through pitch corrected vocals on “the rain,” before sighing a resigned “oh well.”

These individually conceived tracks passed back and forth between the duo, as they ventured into their first moments of writing in the same place at the same time. “backseat 30” is the duo’s first joint venture, and the most immediate song in their discography, transforming youthful anxieties into an explosive anthem. “I don’t wanna waste my life up,” Woodhouse manifests atop layers of twangy and kinetic instrumentation, “hitting the backseat 30, talking with the dogs and the birdies, getting my nails all dirty.” Early album centerpiece, “barnyard,” marks another proper collaboration on the record, with Woodhouse and Dryden’s vocals intertwining and reflecting a quiet sadness as looped guitars swirl in a pool of sparkling instrumentation: “I’ll brush your hair through a nightmare, breathing in the country air.”

Newly relocated from Leeds to their current base of Newcastle-upon-Tyne, lots of hands is anchored by the duo’s friendship, which emanates across the album’s 14 tracks. While conceived across painful moments of growth and grief, into a pretty room is a decidedly hopeful effort, crafted between two friends who have spent the better part of the last decade supporting each other through life’s challenges.

Related Artists: lots of hands

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Ground Control Touring Welcomes East Forest « News & Press | Ground Control Touring
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Ground Control Touring Welcomes East Forest

Ground Control Touring Welcomes East Forest

Posted 01/15/2025

Since 2008, East Forest has used music to guide listeners through modern journeys of deep introspection. The electro-acoustic project has remained primarily a solo effort (of Krishna-Trevor Oswalt), straddling the worlds of ambient, neoclassical, electronic, and avant-pop.

At the core of East Forest’s work is an exploration of sound as a tool to guide listeners on an inner journey. The music is an emotionally resonant landscape that blends organic and electronic elements into cinematic compositions designed to evoke insight and connection. As a sonic bridge between science and spirituality, it ushers listeners into a direct encounter with the mystical dimensions of their being, intending to democratize access to peak states of consciousness.

This ethos of bridging inner and outer worlds, lies at the heart of East Forest’s latest project, the feature-length documentary “Music for Mushrooms.” More than just a chronicle of his creative journey, the film offers a compelling testament to the transformative power of psychedelics, music, and community amidst global crisis. The movie highlights how music can be a transformative tool, facilitating deep healing in an increasingly disconnected world. With captivating visuals, powerful interviews (including Ram Dass, Duncan Trussell, Dr. Robin Carhart-Harris, Xochitl Ashe, Dr. Leor Roseman), and an original score by East Forest, the film weaves together cutting-edge science, indigenous wisdom, and East Forest’s own story of psycho-spiritual awakening, to offer a hopeful vision for the future of mental health, social justice, and human thriving.

East Forest’s latest release, “Lovingly: A Soundtrack For The Psychedelic Practitioner, vol. III” is an immersive long-form album, over six hours in length, and intended to guide journeys of deep introspection from start to finish. The third volume of his Soundtrack For The Psychedelic Practitioner series, the music was recorded and improvised live inside psilocybin ceremonies facilitated between 2020 and 2024. The record is a journey in itself and presents a therapeutic auditory experience that extends beyond psychedelic therapy; it offers music as a catalyst for personal evolution for myriad modalities.

East Forest’s live concerts utilize a skilled, mostly instrumental repertoire to create a space for an emotive journey. The live events have appeared at concert halls, and major festivals, as well as international performances in Europe, Australia, and Asia. The catalog includes over 30 albums, including 2019’s album-length collaboration with spiritual pioneer Ram Dass and collaborations with artists ranging from Jon Hopkins, Laraaji, Dead Prez, Nick Mulvey, Peter Broderick, DJ ANNA and more.

As a trailblazer in the global movement of meditation and inner resilience, he additionally offers guided meditations, retreats, a podcast (Ten Laws w/East Forest with almost 300 episodes), and talks that guide students through a brain-body approach aimed towards non-religious and approachable spirituality; he is a faculty member at the Esalen Institute and has worked with Google and Johns Hopkins neuroaesthetics project, UCSF psilocybin research studies, Wavepaths, Usona, Stanford d.school, SXSW, Yale, TED, Numinus, and more.

His work has appeared on Bright Antenna, Domino, Mercury KX, 1631 Recordings, Aquilo, Ghostly, as well as Tender Loving Empire & Universal/Decca.

Related Artists: East Forest

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GCT is hiring in Brooklyn! « News & Press | Ground Control Touring
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News & Press

GCT is hiring in Brooklyn!

GCT is hiring in Brooklyn!

Posted 01/06/2025

Ground Control Touring is looking to hire an Administrative Assistant in our Brooklyn office!

Interested applicants are encouraged to submit a cover letter & resume to jobs@groundcontroltouring.com.

—

The Administrative Assistant will perform a wide variety of duties in support of their Agent and Agency Associate supervisor(s). These duties will include (but are not limited to) the following:
· Assisting Agent and Agency Associate with all facets of tour booking.
· Managing the flow of contracts, deposits, ticket counts, finals and client settlements.
· Entering extensive event and deal information into our database.
· Interacting with client teams (managers, labels, publicists, touring crew).
· Monitoring ticket sales, evaluating tour marketing plans and executing promotional strategies in tandem with Agency tour marketing efforts.

Applicants should possess the following skills/experience:
· Bachelor’s degree preferred
· Prior office/administrative experience required
· 1-2 years music industry experience is required, ideally in a booking or live entertainment setting that involves familiarity with settlement sheets and complex artist deal structures.
· Strong excel and math proficiency
· Strong (Mac) computer and Internet skills
· Exceptional written and verbal communication skills
· Strong organizational and analytic skills, and a passion for accuracy and proactive problem solving.

—

The ideal candidate for these roles is someone who is professional and personable, able to multitask effectively (while prioritizing time-sensitive projects), attentive to details both large and small, and has a familiarity with our roster.

This is a fast-paced office. We run a tight ship, but are also avid show-goers and music fans. We hope the individuals who join us will be music lovers who are as committed as we are to the development of our artists’ careers.

—

Ground Control Touring is a boutique booking agency with offices in Brooklyn, NY, Los Angeles, CA and Portland, OR. We represent a diverse roster of acts which includes Ani DiFranco, Bill Callahan, Belle & Sebastian, Bright Eyes, Crumb, Deafheaven, Gregory Alan Isakov, Japanese Breakfast, Kikagaku Moyo, Kim Gordon, Kurt Vile, Parquet Courts, Manchester Orchestra, Men I Trust, Shannon & The Clams, Surf Curse and many others.

This is a full-time position with eligibility for company-sponsored benefits. Compensation begins at $42,500 annually.

Actual base salary is dependent on several factors including but not limited to: market dynamics, experience, specialized skills/training (education), level of responsibility, budgetary considerations, tenure at the company (for current employees), etc. The salary range listed is just one circumstantial element of the total compensation package for employees.

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WVAU | Interview: Lowertown « News & Press | Ground Control Touring
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WVAU | Interview: Lowertown

WVAU | Interview: Lowertown

Posted 12/13/2024

by: Franky Rodriguez

Interview: Lowertown – The Strength And Fruit In Intertwined Roots

Lowertown is firing on all cylinders.

It’s been almost six years since Atlanta natives Avsha Weinberg and Olive Osby released their debut project, “Friends,” a playful lo-fi bedroom-pop record recorded entirely in Weinberg’s basement. Two albums, two EPs, and a plethora of solo material later, the duo have come full circle as they gear up to release their third album early next year, once again fully crafted in Weinberg’s basement.

The duo’s path to the present has been anything but predictable; since meeting in their high school math class, the pair have signed with Dirty Hit Records, relocated to New York City, toured the U.S. with beabadoobie and Wet Leg, and parted ways with the label to release music independently.

These shifts have shaped their ever-expanding musical careers, inevitably broadening their palettes and encouraging them to effortlessly traverse genres along the way. Whether it’s the dreamy lo-fi electronica of bedroom-pop, the nostalgic tones of alt-rock, or the grit and aggressiveness of punk, Lowertown tackles it all with an unshakeable DIY spirit.

The band visited American University to headline the fall semester edition of WVAU’s Capitol Boogie, where they shared the stage with Nectarine Girl in the Battelle-Tompkins atrium. WVAU had the chance to catch up with the duo to discuss the media that inspires them, the evolution of their powerful creative partnership, and how their upcoming album represents the culmination of their musical journey.

WVAU: First off, welcome back to DC! Over the years you’ve played in countless cities across the world, but DC has such a rich, unique musical history and energy to it. Do you have any special memories or stand-out moments from previous shows in the city?

AVSHA: Yeah, absolutely! In 2022 we played at DC9. We were on that street there, and I remember seeing a bunch of people on four-wheelers. There was a lot of energy on the street that night.

OLIVE: One guy had a cone on his head.

AVSHA: There was a guy with a cone on his head on a four-wheeler doing a wheelie.

OLIVE: And escaping the police.

AVSHA: That was when we were opening up for Wet Leg at DC9.

OLIVE: That was the first time we ever played DC.

AVSHA: That was our very first tour. We also did 9:30 twice, and 9:30 was awesome! It’s just such an iconic venue.

OLIVE: We felt like rock stars. It was on my birthday! I turned 21 when we played at 9:30 the first night, which was awesome. They got out a birthday cake!

WVAU: We’re hearing you’ve just wrapped up the recording on a new album! Could you give us any details about this latest project?

OLIVE: Everyone says this about their newest album, but it’s one of my favorite things we’ve ever made. Avsha sings a lot more on this one. It feels like a combination of all of our previous work with a lot of new elements, but it doesn’t feel so rooted in one genre, which I like. We’ve recorded all of it so far in Avsha’s basement studio like we did our first album, and I think it sounds really good.

AVSHA: It’s the first project that we’ve done almost entirely ourselves since our first record, “Friends.” We do all the writing, production, and tracking ourselves. Because we’ve been doing it over two years and so many crazy things have happened in our musical career, I think it’s one of our favorite projects because of how all-encompassing it feels. The EPs and the records we’ve done previous to now came out pretty quickly one after another. It’s just a much broader period of time, and so much intense growth happened during the recording period, that it’s probably going to be our most varied and well-rounded project.

WVAU: If it were a meal, what would it be and why?

AVSHA: Big turkey dinner, because I feel like you’ve got a lot of different things going on. There are a lot of sides…

OLIVE: There’s sweet and there’s savory.

AVSHA: There are all the different flavors. There’s cranberry sauce you made from the can, but there’s also turkey that you’ve been cooking for days.

WVAU: Like you’ve said you’ve explored a wide variety of different genres over the years, like bedroom pop, punk, and indie rock. With this new album, did you find yourselves exploring any uncharted musical territories?

OLIVE: I think the way we recorded some of the songs is different from how we’ve recorded previously. We tried to live track. We did newspaper clippings for one of the songs. I’ve been really obsessed with clippings because I’ve gotten into industrial music, and a lot of the lyrics in industrial music come from newspaper clippings. I told Avsha that I really, really wanted to write a song like that and he was super down. I have a bunch of newspaper clippings all around my room, so we used those and made a song from that.

AVSHA: I think rather than genre, there’s a sense of comedy in the new record that we haven’t really explored a lot.

OLIVE: There’s a cheekiness to it, like, laughing at yourself.

AVSHA: I think we started to touch on it with “Bucktooth” on our last album. There was much more of a feeling of not taking ourselves too seriously this time. This time we took the opportunity to do newspaper clipping songs, or like a song that we’re performing today, where we sat down and said, “We’re going to do it all today. We’re going to write the lyrics and the chords and everything all in one sitting.”

OLIVE: We always take what we do very seriously. I got really into Zappa during this record, and it’s like how he takes what he does very seriously, but the subject matter is insane and comedic, or just very absurd. I feel like we have elements of storytelling. There are some deep tracks. People are used to us being very emotional, but we’re also trying to be light. It’s nice to write and perform music that isn’t so depressing all the time because it makes me sit in my depressing feelings even when I’m not in that mode. It makes me get into that mode to perform it. It’s nice to have a balance.

WVAU: Every project is born from a set of specific influences that help shape your sounds and overall vision. Do you continue finding yourself pulling primarily from those initial influences, or do you think your main influences shifted over time? I know you mentioned Zappa and industrial music as big influences on this album.

OLIVE: I feel there’s like the core influences that are formative to you when you start writing music and when you’re young that are just ingrained in you and your cells, but one thing about Avsha and I that I feel shows why we’re on the same page and why we’ve continued to be a band for so long is that we both are very explorative and open-minded people with music. We get bored very easily listening to the same stuff. We have the same core music that we got into when we were young that sort of ties everything together and will always have a special place to us in our hearts. We both go through different phases with music that we’re really obsessed with while we’re writing an album, and that’s why I feel like each record sounds different than the last.

AVSHA: Yeah! When we made our first record, I think our influences were a little bit more on our sleeve, just like any young musician is, but as we’ve performed more I’ve started to draw more from experiences rather than musical inspirations. When we were recording the record, I honestly wasn’t listening to a ton of music. It was more stuff to calm me down, like classical instrumentals, which I’ve always kind of listened to, but I drew a lot more from stories and experiences rather than my inspirations, and I think that’s kind of true with any musician as they grow older.

WVAU: Your writing has very strong literary and poetic qualities to it. Do you find yourselves also pulling inspiration from other mediums like TV, books, and film? If so, what are some specific works and how do you see them reflected in the music?

OLIVE: I definitely think we’re both really big movie people, for sure. The Jarmusch films were really important to us when we were writing our last record. I think a lot of visual imagery, like striking, visual imagery in film is what really inspires a lot of writing for me. Very visceral imagery, like a lot of Jodorowsky movies. He’s one of my favorite directors. I also watched “The Stalker” semi-recently when we were writing this album and the imagery in that was really inspiring to me.

AVSHA: I think we’re both pretty intense consumers. We consume a lot of media all the time. We were just talking today that I watch a movie every day. I try and look, away from music, for different mediums to explore and think about. Film that feels a little bit more guerilla has been speaking to me more, especially because we’re doing it all ourselves and it has a very specific quality, all of our recordings and the way that we play, that already in itself is very guerilla and not really traditionally or classically practiced.

OLIVE: I watched “Julien Donkey-Boy” yesterday, the Harmony Korine movie that’s like really weird, and that was inspiring to me because it’s so different, so experimental, and just strange. Also, it’s really funny! Stuff like that is inspiring to me, like very weird stuff. I also watched “Daisies” while we were writing, and that was inspiring. I also got into making videos recently, and I think visual attachment to the music has always been a big thing for our band, but definitely getting into video-making more has been very inspiring to me.

AVSHA: Thinking about our relationship to stage performance and live performance has been big as well. We’ve explored pretty hard how to perform aggressive music on stage. Now we’re trying to experiment with this new record a bit softer and quieter, but also how to be visually engaging to an audience as people who go to shows all the time. Because we see music all the time, we really want to channel something that…

OLIVE: Is different and sticks with you.

WVAU: It’s well known at this point that you’ve been making music together since you met in your high school math class. How would you say the creative process of writing music as a duo has evolved since you were sixteen?

AVSHA: Kind of what we were touching on before, this process we focused a lot on trying new ways to write together, like in the song that we’re performing today where we sat down and wrote everything in front of each other. When we were sixteen, all lyrics would be written individually, all the guitar parts would be written individually, and we would share over text. We’d send stuff to each other and do the writing process individually, and then get together and eventually record. The writing process would happen in pieces.

OLIVE: We’re much more musically articulate and much more confident in different things. I used to not be able to play instruments very well because I was learning as we became friends, and Avsha just was not as confident in his singing and lyricism and stuff, and we’d both encourage each other to combine our energies more. It’s much more interesting because I get very bored of what I write about and I get very stuck in my same ways, my lyrical themes, my melodies, and it’s really nice bouncing things off of [Avsha] because [Avsha] ha[s] a very different lyrical and melodic approach to things. It really gets me out of my comfort zone and makes the songs a lot stronger when we both do things that each other wouldn’t have thought of. I feel like most of my guitar parts, they’re much more simple than [Avsha] would typically do, which is good sometimes. We just balance each other out a lot in that way.

AVSHA: Because we feel more confident about it, we’re more open to sharing and trying things in front of each other.

OLIVE: And building things through playing, just over and over, and improving together. We’ve live-tracked a few of them, where we’ll be in the same room, recording vocals at the same time or trying to record drums and guitar at the same time, sort of like punk-style, which we don’t really do as much, so that’s really fun. It has a different energy to it than just studio, like track-by-track, doing it.

WVAU: Both of you have your own solo projects– Avsha, and Olivia O., which, congratulations on your new album from earlier this month! How would you say your personal endeavors influence your process as a duo? Do you find that working individually brings fresh ideas for Lowertown?

AVSHA: Yeah! I think that a lot of the seeds of ideas come about through voice-memoing ourselves with little pieces of ideas. It always kind of starts individually.

OLIVE: I think it’s a really good outlet because we both have very similar tastes, but also there are things that musically we both want to explore where the other one is like, “I don’t know Lowertown is the place for this.” It’s a nice outlet because I think it allows us to do everything we want musically within the band and outside of the band, so neither of us is putting so much pressure on the other person to be on the exact same page and wanting to do every single thing the other person wants to do, and doing all the same workflow and everything. We also have different kinds of workflows with how we approach music. I feel like it allows us to really be on the same level where we know that every single song we put out through the band is curated for the actual band and the album. It allows us to not have so much ego attached to the project where it’s like, “This is the only creative output I have.” I’m able to write some fifteen-minute-long stupid drone song or whatever and Avsha’s like, “I don’t know if a fifteen-minute-long drone song is made for this Lowertown album, but if you want to do that…” Same thing with him!

AVSHA: Songwriting is a relaxation activity for both of us, so we’re always doing it when we’re hanging out and on our own. I’ll just be playing guitar while I’m watching TV or something. Because there’s so much output, there needs to be a place to put it in, and it becomes clear when something is supposed to be for our solo projects, or whether we feel what the other person can bring to it is so strong that the song would be much better. When I listen to the new album, it’s very clear to me that all these songs are so much stronger because we built them together. When I hear my and Liv’s solo stuff, I’m like, “This is great, but it doesn’t have the same element of the two of us.”

OLIVE: It’s very [Avsha], and it’s very me, and Lowertown is very much both of our energies together. It’s really cool.

You’ve done a lot of touring over the past few years. Would you say your existing songs evolve over time as you play them live? How does the experience of performing live influence your approach to writing new material?

OLIVE: Definitely!

AVSHA: It’s super influential. I think our relationship with performance is like an animal; it grows and it changes and it gets worse and it gets better and it gets sick and it gets healthier. Ultimately, it always gets healthier but there are ups and downs in that relationship. For example, when were first touring, we discovered that we wanted to make music that would make people move. Out of that came “I Love To Lie,” which is our previous record, and that one has a lot more upbeat stuff.

OLIVE: I feel like we would play the existing songs in such a way because we had so much energy to give onstage that it would change the nature of the existing songs we had. It would almost be the detriment of the songs sometimes. I was bored from having that strong desire to channel the energy into something like that. I also just feel like our live set, we’ve worked on it so much that in a way, a lot of the time, I like the live version of some of the songs better, because also, like developmentally, my voice and the way we play, everything, the energy, we’re much better musicians now than we were with some of the songs, where I love both versions but it’s a whole different version in itself. The art of live, you can do a lot of things with it. Some people just sort of clock it in. I think it’s just so much more engaging, artistic, and interesting for the artist if you try to make it a whole different artistic experience instead of just repeating the songs as is because I’m just like, “You can just go and listen to the recording.” I think it’s so much more fun if you focus on the experience and the connection the audience has to the performer.

AVSHA: To tie it in with the new record, now that the itch is scratched of wanting the more aggressive, getting people to move, our new focus is to try and be engaging while also having ebbs and flows in the performance; having moments of having people move in the crowd, but also having them sit still, watch us, and still be engaged, and not feel like, “Oh, okay good, it’s a lull song, I can just zone out.” It also helps when you go to shows a lot, and you know what you like and what you don’t like. We’ve been to shows and we’ve loved ambient sets with no singing, no drums, or anything, and been entranced, and we’ve been to hardcore sets where you can’t hear any voice, it’s just kick and snare, and we’ve felt what it is to be a good version of that and a bad version of that. We’re trying to use that experience to find a way to have a dynamic performance to support this next album.

OLIVE: Something that’s just different and sticks with you hopefully, that’s the goal.

WVAU: With this new album coming soon, what’s next for Lowertown?

OLIVE: We’re touring! We’re going on a tour in March and April. We’re dropping the record early next year. We’re dropping a remix done by our friends TAGABOW, They Are Gutting A Body Of Water; goated band, love them forever.

AVSHA: They’re doing a remix of a song from our previous EP called “Bline.”

OLIVE: That’s all the stuff that’s a hundred million percent confirmed, and that’s already a lot.

AVSHA: The record is in the first half of mixing.

OLIVE: We’re definitely going on our first full U.S. headline tour, which is really exciting because we’ve done some headline touring, but we’ve never done a full U.S. tour before as the headlining band, so that’s crazy.

Related Artists: Lowertown

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