George Steel, a new NYC based project released his debut hyper-pop single, “Not A Cowboy” on August 23.
The project is a collaborative effort of Michael Quint of Font and Ernesto Grey of Farmer’s wife. The first single off the Steel album is accompanied by a music video directed by Blake Nelson of Font. The video features a washed-up Steel walking around the city in reference to the ending of Claire Denis’s 1999 film, Beau Travail.
In his upcoming album, Desires On The Range, Steel uses political and religious titles like “The Next Great American President” and “Sunday Service” to play into his aesthetic of a patriotic cowboy club rat. His music is described as Avante-Garde ketamine-pop. His songs mix traditional country instruments with repetitive loops and absurdist lyrics to embody his character. He uses distorted vocals and synths and samples to create his hyper, theatrical album.
Not A Cowboy has more of an 80’s new wave sound. The single starts out intense with harsh vocals but softens with an upbeat chorus and production.
Quint’s staccato voice embody Steel. He has taken the character to live performances around Brooklyn. So far, he’s performed with bands such as the Night Traders and The Melancholy Party.
To keep up with new music and Steel’s performances, you can follow Steel on Instagram @georgesteelusa
Afrobeat artist AMAYO released his new single, “Madam President,” on August 22, garnering attention across streaming services.
The track “Madam President” begins with an explosion of percussion, brass, keys, and vocals. Right off the bat the song hooks the listener and once you read into the lyrics, you see the subject matter is deep upon the funky, groovy, upbeat instrumentals.
AMAYO is urging the listener to fight – for freedom, for peace, and for justice. With the upcoming presidential election this November 5, the political nature of the track speaks volumes. The artist is speaking through his heart about moving forward and never back.
AMAYO believes that all people of color, and other marginalized groups win if Kamala wins, clear that he is for Kamala Harris’ victory in the presidency. It is also clear that he draws much inspiration from Bob Marley and the Wailers, Steel Pulse, and other reggae/afrobeat artists.
Once a part of Antibalas, a massively influential Afrobeat band, AMAYO is no stranger to the sounds he is currently releasing unto the world. He is credited for bringing Afrobeat to a global audience, leading it to become a genre of itself.
Antibalas Live
To hear AMAYO’s new single “Madam President,” click here and choose your preferred service.
Psychedelic blues and garage rock band The Dirty Pennies just released their first single in almost a year, “Bee Sting.” The nearly seven-minute track sees the group furthering their newer psychedelic sound, one that can be experienced live at one of their upcoming shows in Rochester and Rome, NY.
Initially formed as a gritty psych-influenced blues rock duo by Ryan Klem and Lucas Howe, The Dirty Pennies have evolved over the years, adding on Sean Doohan on bass and Doug Kelley on keys/synth to form the complete package they are today. Uniquely described by fans in many ways, like “a stoner rock project of The Beach Boys” or “early King Gizzard,” The Dirty Pennies have clearly succeeded in forming a unique sound that can’t be simply defined. As of recent, the band has leaned more heavily into their psychedelic influences, highlighted on their 2023 track, “Head Open,” and their newest single, “Bee Sting.”
“Bee Sting” sees The Dirty Pennies leaning more than ever into their psychedelic edge. Clocking in at about seven minutes, the track is a meandering journeyâone that takes its time but doesn’t overstay its welcome. The song covers the feelings of living in the modern world and how things can sometimes seem fine, despite them often not being. After a lengthy intro, the track kicks into full swing when the lyrics “four, three, two, one, and it’s going back” boldly enter, leading into the two short but sweet verses of the song. Around the halfway mark, the track opens up to a groovy guitar solo before eventually picking up to an even more intense solo and cutting off with an abrupt finish.
Although The Dirty Pennies only have one album to date, which was released in 2017, their recent singles have teased the progressive sound that they could potentially use in an evolutionary follow-up. But regardless of whether they put out a full album or keep releasing singles, The Dirty Pennies is certainly a band to keep an eye on.
The Dirty Pennies have a few upcoming shows across the state, one show in Rome, NY, and the other two in Rochester. See below for their dates and locations, and visit here for tickets and more information.
Upcoming The Dirty Pennies Shows
Aug 30th – Rock that River – Rome, NY Sept 6th – Radio Social w/ Continental Drifft – Rochester Oct 21st – Bug Jar (opening for Meatbodies) – Rochester
“Diorama” explores all the unique nuances of Sam Rappaport’s voice and vision. The track opens up rather smoothly, with notes of contemporary jazz but with a modern undertone. A soft piano melody carries the tune to its heights and to its valleys. Rappaport’s soothing vocals and lyrics fall perfectly along the instruments throughout the entirety of the tune.
The track explores Sam’s inner fears, loves, and life experiences. “Diorama” refers to a layout of all of what makes up oneself. Sam wants to study his own diorama, who he truly is, what makes him who he is. What is he afraid of and what are the fundamental aspects of his person. What does he love, desire and need, and why?
My dad used to take me to the Natural History Museum growing up, and I would love looking at the dioramas. I started thinking, what if there was a diorama for my life and fears, what scenes would it show? So, I guess the main concept is reflectionâorganizing all one’s little traumas into a diorama for public viewing.
Sam Rappaport
Be sure to keep on eye on Sam Rappaport’s further releases by checking his Spotify, Instagram and YouTube. Visit Rappaport’s website to hear the new single “Diorama” For more information on the artist, click here.
Heading to the 2024 Great New York State Fair? There are plenty of attractions and rides, but don’t sleep on two stages of free live music each day!
The Great New York State Fair was founded in 1832 by a group of local farmers for agriculture and local fairs, The Great New York State Fair became a musical showcase in the 1950s and 1960s. A variety of artists perform at the fair, including popular and up-and-comers.
Performances can be found on the Chevy Court Stage and Suburban Park. Both stages are free with the price of admission.
Phish has kicked off their eleventh festival, Mondegreen, at The Woodlands in Dover, Delaware, welcoming 40,000 fans for a 4-day musical and visual odyssey. The modern day music festival landscape has evolved from Phish being the progenitor of the 90s festival resurgence, the one with the most success despite only a single band on the lineup, to a landscape where festivals are failing, canceling, being too big, or underattended, and generally going the away after two decades of success. Yet here we are with Phish keeping their success with fests going even as bigger and “better” ones continue to fall by the wayside.
In a concert bowl full of art installations with surprises around each corner and tucked into the woods surrounding the fans, Phish fans find themselves in a real life choose your own adventure book, where every turn and decision leads to even more action and escapades.
Likewise, Phish onstage rose to the occasion, opening the festival with a mondegreen of a song, ‘The Moma Dance’ (the moment ends), dropping a first set that was highlighted by a 19-minute “Wolfman’s Brother” and a 30-minute combined 1-2 punch of a closer with “A Wave of Hope” and “Sand.”
Set 2 opened with the true Phish debut (sans Billy Strings on vocals) of “What’s Going Through Your Mind” that clocked in at a surprising 25 minutes. Energetic versions of “Chalkdust Torture” and “Light” followed, with both jams eclipsed by a mid-set highlight in “Prince Caspian” that featured healthy teases of “Sneakin’ Sally Through the Alley” from Mike Gordon with Talking Heads’ “Crosseyed and Painless” later providing a continued burst of energy. A brief “Lonely Trip” was the only respite this set, as a 15-minute “Everything’s Right” closed the set.
A triple encore of the all too infrequent “Saw It Again” had added lyrics referencing the festival, with “Possum” and “Slave to the Traffic Light” closing night 1 on a high note.
Phish – Mondegreen Festival – The Woodlands – Dover, DE 8/15/24
Set 1: The Moma Dance, Back on the Train, Wolfman’s Brother, Funky Bitch, Roggae, NICU, A Wave of Hope, Sand
Set 2: What’s Going Through Your Mind -> Chalk Dust Torture -> Light > Prince Caspian, Crosseyed and Painless, Lonely Trip, Everything’s Right
Encore: Saw It Again > Possum, Slave to the Traffic Light
Night two of Phish’s Mondegreen Festival is now in the books with the band delivering two sets of nearly seamless originals and a brilliant “not-so-secret” third set of musical improvisation that ran the gamut from ambient to explosive psychedelia.
photo by Derek Java
The show began almost promptly at 7 pm this evening with an old school opener in the harmony-laden “Bouncing Around The Room.” This was followed by a “Kill Devil Falls” that set the tone for the rest of the night with an exploratory, groove-intensive jam that technically left the song unfinished. Instead of rounding it back into form, Phish threw out their signature take on Frank Zappa’s “Peaches En Regalia,” the only cover song played all night. “Free” then built on the momentum with an ebullient, free flowing jam before a perfectly placed “Divided Sky” with the sun slowly beginning to set helped create a brilliant aural landscape. The “Tube” that followed elicited another thick jam that had some certifiable meat to it before “Mountains In The Mist” served as a suitable first set “breather” song. “Reba” brought with it all the feels and emotion with a super blissed out jam that further cemented the already immaculate first set vibes. Bypassing the traditional “whistling” ending, Phish instead rounded off the first set with a fun “Twist” > “Character Zero” closing musical salvo.
photo by Derek Java
The second set kicked off with another monstrous “My Friend, My Friend,” a song the band has really stretched out and added some extensive jams to as of late. The traditional “Myfe” ending was skipped over on this one as well with the music instead flowing right into “No Men In No Men’s Land,” a song that typically features some heavy exploratory improvisation on the band end and tonight’s performance was no exception. From here, it was a non-stop runaway train of high end musical improvisation as the band shuffled seamlessly through segues into “Ruby Waves” and “Pillow Jets.” Keyboardist Page McConnell then dove in the sample bin for “Your Pet Cat,” spicing up another intense jam with sounds of cats screeching and screaming, giving a real back alley brawl feel to this rarely played instrumental number. WIthout ever fully stopping, Phish then circled back with ease to revisit both “Ruby Waves” and “No Men” while throwing a hearty “Story Of the Ghost “ right in between them. A flawless “Fluffhead” then closed out the set in grandiose fashion, featuring some amazing drumming and light hearted singing from Jon Fishman.
photo by Derek Java
Prior to the encore, Trey Anastasio facetiously mentioned to “one guy in a white shirt” that there may be a secret set tonight and it may not be wise to head right back to the campground after the show. First, however, was an appearance from “Harry Hood” and its typical powerful, blissful jam before a thunderous and feedback-heavy “First Tube” with Anastasio going full guitar god mode ended things….for now. With many taking heed to Trey’s suggestion and sticking around, a sheer screen descended in front of the stage, turning it into a veritable movie screen. Phish then proceeded to pull a “reverse Sphere,” with the band playing behind the screen as it proceeded to show a series of brilliant images that seemed to grow more intense and vivid as the 50-minute set went on. It was a legitimate question to wonder if the music was dictating the images or the other way around. Either way, it made for one of the more legendary secret sets in the band’s rich festival history as Phish touched on everything from the ambient to thrash metal and seemingly everything in between, dazzling the audience and capping off a special second night at Mondegreen.
Phish – Mondegreen Festival – The Woodlands – Dover, DE 8/16/24
Set 1: Bouncing Around the Room, Kill Devil Falls > Peaches en Regalia, Free, Divided Sky, Tube, Mountains in the Mist, Reba, Twist > Character Zero
Set 2: My Friend, My Friend > No Men In No Man’s Land > Ruby Waves > Pillow Jets -> Your Pet Cat -> Ruby Waves > Ghost -> No Men In No Man’s Land > Fluffhead
Encore: Harry Hood > First Tube
Set 3: Woodlands Jam
photo by Filip Zalewski
The third day of Mondegreen was as hot as any of the previous two, with little in terms of shade or escape from the heat. Phish fans pushed through – we do train for this – and rallied to be inside and take in the art installations, food offerings and stand up comedy that took place in the hours before the music began.
Opening the afternoon with “Mike’s Song” gave Lemonwheel vibes, but the classic combo of “Mike’s > I Am Hydrogen > Weekapaug Groove” was the fuel and fans needed to get down. A lofty “Theme From the Bottom” followed, along with a Mondegreen of a song, “Blaze On” (Nice Shades/Night Shades) to follow. Perhaps compelled by a sign featuring Paulie Walnuts saying “Gaba Jibbool,” “Gotta Jibboo” ended up being a top jam of the set, stretching for more than 12 minutes. All that followed was setting the table for the second set – the funk rock of “46 Days,” the title track off Phish’s latest album, “Evolve,” Phish fest classic “Meatstick” and “David Bowie” to round it out.
photo by Filip Zalewski
By the time second set rolled around, fans were dialed in and preparing themselves mentally and physically for the unexpected news of Sunday’s show being held earlier in the day, with the field opening at 11am for a 1pm set. While the weather never was a factor on Sunday, the preparation by fans was not just on the day of the show, but also the night before.
An errant beat preceded the opening notes of “2001” which beckoned the crowd for a heavy night to come. And while “Oblivion” has been a road tested song since 2023, the lack of segue here stood out, and could have easily been “Tweezer” or “Life Saving Gun,” but the jam still delivered, working towards “Down with Disease,” which, like the “Tweezer” that did follow, clocked in at over 19 minutes each. “Scents and Subtle Sounds” appeared in full form (not the shortened Magnaball version) for more than 16 minutes, a mid-set-ridge that was an abject success on the collective dance floor. When “Boogie On Reggae Woman” began (one of the limited covers of the weekend by this point) the timing couldn’t have been more perfect, nor could it have been for the “Carini” that followed. With an exclamation point, Day 3 of Mondegreen featured the top set of the weekend, by a wide margin of conventional wisdom.
A trio in the encore began with “Backwards Down the Number Line” and then an always huge “You Enjoy Myself” that closed with “Tweezer Reprise,” putting a bow on Saturday and leaving fans wondering what was in store for Sunday’s weather-rescheduled set(s).
Phish – Mondegreen Festival – The Woodlands – Dover, DE 8/17/24
Set 1: Mike’s Song > I Am Hydrogen > Weekapaug Groove, Theme From the Bottom > Blaze On, Gotta Jibboo, 46 Days, Evolve, Meatstick > David Bowie
Set 2: Also Sprach Zarathustra > Oblivion, Down with Disease[1] > Tweezer > Scents and Subtle Sounds > Boogie On Reggae Woman, Carini
Encore: Backwards Down the Number Line, You Enjoy Myself, Tweezer Reprise
[1] Unfinished.
This was the third show of the Mondegreen festival. Mike teased Passing Through in David Bowie. DWD was unfinished. Trey teased La Grange and Eleanor Rigby in DWD and Eleanor Rigby in Tweezer.
photo by Filip Zalewski
Phish closed out the final night, or rather day, of Mondegreen with some more explosive jamming that took place a little earlier due to a change in schedule. An announcement was released on Saturday night that music would be starting at 1:00 pm instead of the usual 6:30 pm due to inclement weather that was expected in the local area. Although it never really opened up or downpoured on Sunday, Phish clearly erred on the side of caution instead of letting festival attendees, vendors and workers potentially get stuck in a storm that had the potential for strong winds and lightning.
Both the band and crowd made the most of the situation, and the near two-hour single set started off in joyous fashion with “Party Time” and the sun still shining bright. “Axilla” followed and kept the energy levels high, even after plodding through a “Part 2” ending, before “Maze” kicked things back into high gear with its typical ferocious solos from Page McConnell on organ and Trey Anastasio on guitar. A mid-set “AC/DC Bag” didn’t quite reach the heights of the one featured at Bethel Woods last weekend, but still featured some significant improvisation on its back end. “Sigma Oasis,” another new number from the band’s recent Evolve album followed very much in suit before segueing into the classic Phish tune “Rift.”
photo by Filip Zalewski
“Stash” found the Mondegreen crowd still very much engaged and elicited another probing and expansive jam and the “Ya Mar” that followed served as a perfect daytime set selection. As some cloud coverage slowly began to make an appearance, Phish closed out the jumbo-sized set with one last progression of songs that flowed seamlessly into one another, starting with a “Bathtub GIn” that, like its brethren from this summer tour, produced yet another deep and exploratory jam. At its conclusion, Anastasio started frantically vamping for the intro to the still-rare cover of Jimi Hendrix’s “Isabella.” The set could have ended here and few would take issue with that, but instead Phish launched into “Simple” before a rousing cover of TV On The Radio’s “Golden Age” properly closed out the set, as the band definitely seems to be in the midst of one of these.
One last high octane jam that had the whole festival grounds moving took place in “Fuego,” another proper song in both placement and name due to the quality and intensity of music displayed all week long. A brief DJ set afterwards gave those sticking around one last chance to dance and enjoy the venue grounds before skies darkened even further and announcement was made for everyone to return to their campsites, a dour ending to an otherwise memorable and festive Mondegreen.
Phish – Mondegreen Festival – The Woodlands – Dover, DE 8/18/24
Set: Party Time, Axilla->Maze, Steam. Martian Monster, AC/DC Bag, Sigma Oasis->Rift, Stash, Ya Mar, Timber (Jerry the Mule), Bathtub GIn > Izabella > Simple > Golden Age
Opening day of the Great NYS Fair was full of nostaglia. Earlier in the day Chubby Checker took the stage and all the headliners from the I Love the 90’s tour paid homage to him as they each left the stage, Young Hump of Digital Underground said “I’m gonna have to call my grandparents”.
The lineup for the evening was Digital Underground, Color Me Badd & Tone Loc. The weather cleared just before start time and made for a wonderful evening of music.
Opening up the night was Digital Underground with their hit “Same Song” as they moved back and forth across the stage. As their set continued the remembered Shock-G and dedicated “Doowutchyalike” to him. They continued their set with “Kiss you Back” and then performed Tupac’s “I Get Around” and ending the night the “Humpty Dance” with Young Hump out doing his dance. It was a great set from Digital Underground that got the audience up on their feet to start out the evening.
Next up was Color Me Badd with the sole original member lead vocalist Mark Calderon. They started their set off with their hit “All 4 One” and got the audience singing with them. They continued on with “I Adore Mi Amor” and covered Michael Jackson’s “Rock With You”. As they continued on with their walk through their 90’s hit “I Wanna Sex You Up”. At times it was hard to hear Mark Calderon’s vocals during their 20 minute set. The audince enjoyed the performance and could be heard singing along toeir favorite old school jams.
Tone Loc came out with DJ M. Walk to perform his hit “Funky Cold Medina”, Tone in a throwback blue sweat suit with his gravelly voice that just brought the crowd to their feet. They continued on with a cover of Snoop Dogg’s “Gin and Juice” with Tone Loc doing a little crip walk. He continued on with a call and response of “Hey, What’s Up”. Giving the audience a little time he asked what decade the audience members were born, and the biggest responses were the 60’s & 70’s. He then called a group of ladies to come up on the stage as he closed out with “Wild Thing”. The ladies on stage danced and laughed as if they were back in the 90’s.
I love the 90s was a great night of nostalgic music at the NYS Fair that took you back in time. It almost was like we were back in the 90’s again.
Digital Underground Setlist: Same Song, Doowhatchya Like, Kiss You Back, I Get Around (TuPac), The Humpty Dance
Color Me Badd Setlist: All for Love, I Adore Mi Amor, Rock With You (Michael Jackson), I Wanna Sex You Up
Tone Loc Setlist: Funky Cold Medina, Gin & Juice (Snoop Dogg), Hey, What’s Up, Wild Thing
Rising country music star Warren Zeiders performed on the Suburban Park Stage at the New York State Fair in Syracuse on Thursday, August 22. The Hershey, Pennsylvania native was celebrating the release of his second full length album, Relapse (released on August 23).
Anticipation built as the minutes clicked down to Zeiders’ arrival. The barricaded area around the stage was filled to capacity well in advance of showtime, and a sprawling crowd stretched back into the fields which separated the Suburban Park stage from the hustle and bustle of the fair’s midway.
At promptly 8pm, Zeiders burst on to stage and wasted no time getting the party started. Zeiders opened with the unreleased track “Take it to the Grave” which showcased his gritty vocals and high energy stage presence. Zeiders worked each side of the stage, often pausing to wave and greet the fans up front. Early in the set, Zeiders pushed his new material, performing several tracks off the Relapse album.
At just 24 years old, Warren Zeiders is proving to be a master in his craft. New tracks like “Intoxicated” and “Betrayal” proved to hold just strong as the rest of his growing catalog. Those in attendance were already familiar with the lyrics to the new tracks and sang along to every word. However, the biggest sing along this evening was when Zeiders performed “Pretty Little Poison”, a track which spent several weeks at the top of Billboard’s Country Music Airplay chart earlier this year. The crowed belted back the song’s anthemic chorus and waved lighters and cellphone lights in the air, illuminating the area and giving perspective to the sea of fans that had gathered.
After a sixty minute set and a brief break, Zeiders and his band returned to the stage for an encore, which saw the band cover the Alice in Chains classic, “Man in the Box”. The song may sound like a surprising choice to hear at a country concert, but it fit in well with Zeiders’ sound.
The New York State Fair continues through September 2. See a list of upcoming concerts here.
Bushwick folk-indie artist Fox Indigo released her lyrical upbeat new single “Gravity” with Rexius Records.
Indigo has a beautiful almost haunting voice. The instrumentation melts together with her vocals perfectly. Her single’s production has a classic indie sound and a catchy chorus, but her talent brings “Gravity” to the next level.
“Gravity” is “about pursuing someone who’s leaving a toxic relationship & how you’re aware that it’s a terrible idea, but you can’t stop yourself. How gravity keeps pulling you back no matter how hard you fight it,” Indigo told NYS Music.
“Gravity” is the second single released this year as “Trail Of Tears” came out in June.
During quarantine, Indigo single handedly created her first album Seven Seas from scratch in her bedroom. In 2022 she signed with Rexius Records and finally released Seven Seas
Indigo says songwriting comes naturally to her. “Sometimes a melody feels like a pre-existing cosmic idea floating in the ether, waiting for the right soul to grab it,” she said. When it comes to lyrics she usually “vomits” words in a notebook and chooses the most meaningful lines.
Along with singing and songwriting, Indigo has other creative passions. She has been organizing her own events for the past 10 years and even started a music collective called Get Carried Away Collective. Her goal with the collective is to uplift other DIY artists like herself. “I’ve grown pretty tired of how traditional venues treat artists in this city over the past decade of performing here and I wanted to create a space where people could put on their own shows,” she said.
With her solo work, Indigo has another project in the works. She is aiming to complete an EP by next spring.
Her advice to other young DIY artists is to keep creating things they are passionate about. “In a world stifled by corporate influence & inflation, reach out to your community to work together on projects, outside of the oppressive venues and corporations. We’re powerful when we work together,” Indigo said.
To keep up with her work you can follow her on Instagram at @foxindigomusic.
NYC-based indie collective Monotronic has released a new single titled “Kids of Summer.” Accompanying this new single is a music video filmed throughout Manhattan in 2020.
Guitarist Ramsey Elkholy founded the enigmatic group Monotronic in 2016. Rather than a consistent band, Monotronic acts as a collective of boundary-breaking artists. It features a rotating cast of musicians, including collaborators of Dweezil Zappa, the Spin Doctors, and more.
Elkoly sits at the creative helm of Monotronic’s musical stylings. Holding a doctorate in Anthropology, he draws influences from the world’s diverse musical stylings. With Monotronic, Elkholy has imbued electronic indie, with influences from Indian classical and traditional Indonesian music, among others.
Since their start, the band has made a name for themselves through their indie singles. On tracks like “Sun Song” and “Buy Yourself a Dream,” they have built a dreamy brand of catchy indie pop. Off the back of singles like these, Monotronic has played venues across NYC and the East Coast. On top of individual shows, they have also appeared at festivals like Disc Jam and Meeting of the Minds.
Now, Monotronic has released a reworked version of their 2020 single “Kids of Summer.” The single was originally released in 2020 at the height of the Covid-19 pandemic. At the time of its release, “Kids of Summer” premiered at #1 on VEVO’s Incoming Indie playlist.
The track’s lyrics discuss the limitless freedom of youth, and the courage needed to approach it. Matching these lyrics are dreamy warbling synths that drive the song forward. As the song progresses, booming drums, distorted synths, and backing vocals all join the fray. The end result is an anthemic indie pop jam for the summer.
Now four years after its original release, Monotronic has re-released an updated version of the song. Featured on this new recording is Grammy-nominated drummer Omar Hakim. Prior to his work with Monotronic, Hakim has worked with legends in practically every genre. David Bowie, Daft Punk, and Miles Davis are only a few of his past collaborators.
Drummer Omar Hakim
Monotronic has also released a music video to accompany this new release. The “Kids of Summer” music video is a love letter to New York City Summers. Filmed with a go-pro in Manhattan’s streets and parks, the video captures the liveliness of the city’s outdoors. The video features skateboarders and breakdancers backed by Manhattan cityscapes and psychedelic backgrounds. Through this video, Monotronic manages to capture both the energy of Manhattan and “Kids of Summer.”
This single releases in the leadup to Monotronic’s sophomore record Waiting For You. This album is the band’s first full length release since their self-titled debut in 2019. The record will feature “Kids of Summer” and “Sun Song” among other songs. Monotronic currently plans to release the album in early 2025. For more information on “Kids of Summer” and Waiting For You, visit Monotronic’s website here.
