The Fat Angel Sings

The Doors will release a new live album later this year. The band’s two surviving members, guitarist Robby Krieger and drummer John Densmore, supervised the upcoming “Unbound and Dangerous” with the band’s longtime engineer and mixer Bruce Botnick.

The “Unbound and Dangerous” collects tracks from the Doors’ 1970 Roadhouse Blues tour, which began shortly after the release of the band’s fifth album, “Morrison Hotel“, in February.

Densmore and Krieger, along with the band’s keyboardist Ray Manzarek (who died in 2013) along with singer Jim Morrison (who died in 1971), recorded several shows on the tour, resulting in the concert LP, “Absolutely Live“, in July 1970.

“I knew Jim was ‘dangerous’ from the beginning,” Densmore noted in a press release announcing the album. “Talented and dangerous.” “He seemed to want to challenge everything. Then there were his words. That’s what seduced me … those words were about freedom. Freedom of speech, freedom to be free. He wanted to free us all. What a gift. This live album captures that wild spirit.”

“I’m not sure why the Doors were considered dangerous,” added Krieger. “It was the ’60s, man, anything goes, and we didn’t really think of Jim as being dangerous.

“Once the Kennedys were gone and Vietnam was happening, that was the danger, not the Doors. The closest we came to being dangerous was in Miami or in Cleveland when the audience went crazy.”

“Dangerous equates to excitement,” said Botnick. “The fans came in the thousands to Doors concerts looking for danger and excitement. Jim was always reading the room and knew how far to push the envelope … there was always, ‘Will he do something really dangerous?'”

Most of the songs on “Unbound and Dangerous” were recorded during stops in New York City, Philadelphia, Pittsburgh and Detroit.

One song, “Soul Kitchen,” comes from a 1969 performance at Hollywood’s Aquarius Theatre. (In addition to “Absolutely Live”, recordings from the tour have appeared on other live albums over the decades.)

The Doors’ arrival on the rock scene in 1967 marked not only the start of a string of hit singles and albums that would become stone classics, but also of something much bigger – a new and deeper relationship between creators and audience. Refusing to be mere entertainers, the Los Angeles quartet relentlessly challenged, confronted and inspired their fans, leaping headfirst into the heart of darkness while other bands warbled about peace and love. Though they’ve had scores of imitators, there’s never been another band quite like them. And 50 years after their debut album, The Doors’ music and legacy are more influential than ever before.

The set will be released on October 23rd, and features concert performances culled from the Doors’ 1970 Roadhouse Blues tour.

This compelling documentary about one of rock’s most dynamic, exciting and sadly unsung heroes of rock and roll, Steve Marriott, via the use of previously unseen photos, memorabilia, and home movies.

Showcases revelatory interviews with Humble Pie’s Peter Frampton, Jerry Shirley and Greg Ridley, the Black Crowes’s Chris Robinson, Rick Nielsen and Bun E. Carlos of Cheap Trick, John Waite, Bad Company/Free drummer Simon Kirke, Quiet Riot’s Kevin Dubrow, Ricky Byrd and Marriott historian John Heller.

Includes rare fiery performance footage of The Small Faces and Humble Pie, drawing the viewer closer to this wonderful and underrated artist. It also Features a bonus concert of the 1973 Winterland show.

This beautiful deluxe 3 disc digipack includes a Blu-Ray, DVD and CD
Marriott is remembered for his powerful singing voice which belied his small stature, and for his aggressive approach as a guitarist in mod rock bands Small Faces and Humble Pie. Marriott was inducted posthumously into the Rock and Roll Hall of Fame in 2012 as a member of the Small Faces.
Marriott became a popular, often-photographed mod style icon through his role as lead singer and guitarist with the Small Faces from 1964 until the end of 1968.

Marriott was influenced from an early age by his heroes including Buddy Holly, Booker T & the MG’s, Ray Charles, Otis Redding, Muddy Waters and Bobby Band.

The midwest, particularly the part of the midwest Eric D. Johnson hails from, is a largely flat expanse. Zipping through it on the highway, you’ll see cities and towns rise up in the distance, but blink and you’ll miss other man-made rejoinders to horizontal living dotting the landscape, hill after hill, built from the refuse of the past: landfills. Some of these hills make for great sledding spots, parks, and trails. Others turn organic waste into compost. “The Landfill”, Fruit Bats’ album from Merge Records, is something else entirely: a mountain dominating the landscape of Johnson’s heart.

“The Landfill”, the upcoming album from Fruit Bats, expected June 2026, is one to play on your next roadtrip, while you’re at the beach, or for a solo dance party while cooking dinner. It opens with “The Saddest Part of the Song,” a more energetic opening than one may initially expect from the title of the song.

This introduction to “The Landfill” demonstrates Eric D. Johnson’s combination of the emotionally raw with musical elements of fun and vibrancy. Even in lower moments of the record, singing of lost love and lost opportunities, the rhythm section and delightful tones from the electric guitar and keyboard keep listeners afloat while processing some of the more difficult themes presented by the lyrics. A favourite song from the record, “Fishin’ Vision” belongs on playlists like “Bass Pro Shop Diva,” “Sunlight Through Raindrops,” and “Driving Through the Mountains.”

The title track concludes the project with reflective acceptance. Johnson marries mournfulness and hope in the same breath with “The Landfill,” singing, “This is the end of the movie…what such a sad, sweet story…I always knew you would end up somewhere good.”

releases June 12th, 2026

All lyrics by Eric D. Johnson

The Who will celebrate the 50th anniversary of The Who By Numbers with an expansive new super deluxe edition featuring 92 previously unreleased audio tracks, a restored concert film, new mixes by Pete Townshend and a 100-page hardback book. Unlike The Who’s three previous albums, ‘Tommy’, ‘Who’s Next’ and ‘Quadrophenia’, ‘Who By Numbers’ is stripped down, back-to-the-basics rock and roll. There are no themes, no operettas, no stories running through multiple songs.

Instrumentally, it’s comparatively bare-bones; most of the songs are just guitar, bass and drums, played to perfection. Lyrically, the album as a whole is as good as anything Pete Townshend has written, though much more understated, thematically. Even the album cover, John Entwhistle’s connect-the-dots drawing, is almost child-like in its simplicity.

Due for release on October 30th, the reissue revisits the band’s introspective 1975 seventh studio album across a 5CD/1 Blu-ray boxset, alongside separate 3LP, 2CD and coloured-vinyl editions.

Originally released in October 1975, The Who By Numbers marked a notable shift in Pete Townshend’s songwriting, trading the grand narratives of Tommy and Quadrophenia for a more personal and often vulnerable collection of songs. The album reached No. 7 in the UK and No. 8 in the US, and spawned the hit single “Squeeze Box”.

Reflecting on the record in the new set’s accompanying book, Townshend says: “The Who By Numbers” is a tricky album to talk about. It’s the only one where I allowed songs that were so personal to be used by The Who.”

Roger Daltrey adds: “In some ways, The Who By Numbers is my favourite [Who] album. For me, songs like ‘Imagine A Man’, ‘How Many Friends’ and ‘However Much I Booze’ expose our vulnerabilities, and the album is wonderful for that.”

You can hear the previously unheard “Imagine A Man (Pete Vocal, Early Mix)” 

Among the archive highlights are eleven Townshend demos, studio tracking sessions from Ramport and Shepperton Studios, alternate vocals, guide tracks, early mixes and a selection of newly created acoustic “stripped” mixes.

The box’s live material focuses on a fascinating period in The Who’s history. Disc Five presents the most complete release to date of the band’s June 12th, 1976 performance at Swansea’s Vetch Field, recorded during the Who Put The Boot In tour and notable as Keith Moon’s last major show before a British audience.

The Blu-ray also includes video of The Who’s December 6th, 1975 concert at the Metropolitan Stadium in Pontiac, Michigan. Attended by nearly 77,000 fans, the show set a record at the time for the largest indoor rock concert audience and has now been restored from original 2-inch videotape. The performance stands as one of the few surviving visual documents of The Who’s final major tour before Moon’s death in 1978.

As well as newly remastered versions of the original album, the Blu-ray contains brand-new Atmos, 5.1 surround and stereo mixes overseen by Townshend.

The release is accompanied by a 100-page hardback book featuring rare photographs, memorabilia and new liner notes by Townshend and longtime Who archivist Andy Neill.

Lily Seabird has shared the title track for her new LP, Lightspheres on Their Way, which is out this Friday on physical formats via Lame-O Records Regarding the new track, Seabird said: “Lightspheres” are so many things throughout this record, UFOs, memories, dreams, people, an unknown force pushing and pulling us through. Without being too specific I think in a lot of ways this song deals with the feeling of loving someone through a great distance.

“I was also thinking a lot about Brent Mydland,” she continued, “who was the keyboardist of the Grateful Dead from 1979-1990, the end of this song is really inspired by his song ‘I Will Take You Home,’ specifically the studio version which is on “Built to Last” (1989). Recording this song was really fun and figuring out the arrangement me Daniel and Rick really worked this one out together. The outro of this song is my favorite part which we completely improvised and kept.”

Seabird also announced new December tour dates, “Lightspheres on Their Way” Released soon .

Unreleased studio tracks from the October 1977 Memphis recording sessions that Unleashed ‘Human Fly’!! Mixed by Alex Chilton, Poison Ivy and Lux Interior!!

With tracks selected and mixed in the late 1980s, “Gravest Gravy” was designated by Lux and Ivy for release years ago, but for reasons lost to time, remained shelved until now. Completely rippin’ versions of classic early Cramps tracks, two of which feature Alex Chilton on organ. Cut from the analogue source tapes, and mastered expertly in Nashville. Stay Sick! Turn Blue!
 
 In October 1977, the Cramps, who were at that time, Lux Interior on vocals, Poison Ivy on guitar, Bryan Gregory on guitar, and Nick Knox on drums, ventured into Ardent Studios with the extraordinarily talented musician and producer, Alex Chilton. These sessions were responsible for the first two Vengeance Records releases, both permanently disfiguring the music world in 1978

In 1979, young British degenerates were treated to a five track 12” EP by the Cramps called “Gravest Hits”, which featured all four tracks released in the USA, along with another from the October 1977 sessions, a great channeling of Ricky Nelson’s hit “Lonesome Town“. From there, the band released their first LP, “Songs The Lord Taught Us”, again working with Alex Chilton, and went onward, releasing records and touring all over until the sad passing of Lux in 2009.
 
What Cramps fans might not know, was at Ardent, the band had planned to record their song “T.V. Set” to be their first A side, along with another track or tracks. Alex told them that he liked to have a band play every song they knew and the best of the batch would be committed to vinyl. This was fantastic advice, and luckily for us, that’s what the Cramps did. This is how “Lonesome Town” found its way to “Gravest Hits”. But, there was much more to the story.
 
In the late 1980s, Lux and Ivy endeavored to release more recordings from the October 1977 sessions. It was to be titled “Gravest Gravy“. It was a record for the fans, a journey back to Memphis, back to the first Cramps records, that, try as it might, the world has been unable to heal from. Lux and Ivy mixed several tracks between June 14th and 30th, 1989 at Present Time Recorders, in North Hollywood. Alex mixed a few tracks in Memphis. The album had a title, a cover by the great Stephanie Chernikowski, who passed away recently, but for reasons lost to time, “Gravest Gravy” was shelved.
 

“I would like to take care of your stuff.” That’s what Henry Rollins said to Poison Ivy—who, with her forever-partner Lux Interior, founded rockabilly’s most primally aggressive ensemble, The Cramps—upon the discussion of her band’s original tapes, paperwork, and ephemera, which was residing in her LA County garage at the time. Of course Rollins wanted to take care of all things Cramps: Along with being an author-editor at his 2.13.61 Publications and host of a long-running KCRW show, Rollins is an archivist/detective type dedicated to literally preserving music and moments that hold historical import to him (and plenty of others). Aiding and abetting The Cramps in keeping their “stuff” intact, then, is a calling—an active duty—for Rollins. He’s even got a temperature-controlled space in his home in Nashville to prove his mettle, as well as his fierce dedication to what he considers legacy. 

Such as The Cramps, to which I couldn’t agree more. At punk rock’s gleaming in 1976, the band presented a uniquely bizarre image and ferocious musical output: something macabre, perhaps kitschy at times, but always dangerous. If anyone was going to push you off the cliff, it was Lux and Ivy, whose outlandishly fun and nightmarish run ended when the former passed away in 2009. “Larry [Hardy, of In the Red Records] and Ivy were at my house in Los Angeles as I was discussing me—or someone—looking out after all of their carbon-based material,” Rollins says. “I wasn’t looking for ownership, but rather to maintain their archive. I knew that the tapes were in the garage because Luz and Larry loaded them in years before.”

After deciding that Rollins would be the man to oversee The Cramps’ deep vault, Hardy found seven quarter-inch tapes with writing on them that seemed to be a unifying “concept.” Upon questioning Ivy as to his find, she presented a rough sketch: After having originally recorded these songs at Ardent Studios in October 1977 with Alex Chilton during the sessions that yielded The Cramps’ “Gravest Hits” EP, Ivy and Lux went on to mix nine of the 12 tracks Hardy had just discovered (Chilton mixed the other three) at a North Hollywood studio in 1989. They’d intended to make “Gravest Gravy” their last-ever album to be released in 2008 “in order to go full-circle, present the songs you didn’t get to hear in 1977,” but upon Lux Interior’s sudden illness, Ivy understandably didn’t wish to go ahead with the album project.

With some of the wounds of Lux’s passage healed, she gave the go-ahead to release “Gravest Gravy” nearly two decades later. The tapes were baked and sent to Rollins, who made his “‘keeps’ and ‘takes’ notes” from the original mixes with Ian McKaye (“whose ears I trust far more than mine”) further deciding upon its sound, vision, and running order. Rollins additionally credits Cramps team members such as Brian Kehew, Don Zientara, Pete Lyman, and Jo Murray for the vinyl version of “Gravest Gravy” that you have before you. 

Or don’t. Because the first print run of “Gravest Gravy” sold out quickly following its August 21 debut. “No one imagined just how great the hardcore interest would be in Cramps vinyl,” Rollins says. “But I’m begging people to please not pay the stupid prices on eBay. More are being made, pressed in the United States, so the turnaround won’t be long.” 

To go with the fresh release of “Gravest Gravy”, a 7-inch single mix from those same 1977 sessions produced an “alt mix and different vocal version” of “TV Set” paired with another alternate mix of “Can’t Find My Mind” as its B-side, which is set to be released in September. With that, here’s Rollins’ own fast and furious run down of every one of the 12 songs on “Gravest Gravy”.

1. “TV Set”
When The Cramps first went into Ardent, they wanted this track to be their first single’s A-side. It was love at first sight between Chilton and The Cramps. They felt safe with him. He brought them into Memphis, which was heaven for Lux and Ivy. But Alex was more organic than a guy choosing the A-side from the start. He just wanted to record every song that they’d been playing out and seeing what stuck out, naturally. That’s a great thing for a young band. Doing 15 songs and not three—you’re not stiff, you’re not pressured to worry about A-sides. You just play, sweat, and get into the moment. Lux came fully formed: great concert, great vocal control. I like this version of “TV Set” more than the “Songs the Lord Taught Us” album version.

You should listen to how great [guitarist] Bryan Gregory is here, that discordant dun-dun-dun-dun at the beginning of the tracks. It’s really in-your-face. Most producers might have told Bryan to cool it. Alex knew, however, that such intensity was the essence of The Cramps. This is a really ripping version—and we have a lot of different mixes on this track, so we know how concentrated Lux and Ivy were on “TV Set.”

2. “Weekend on Mars”
This was a big live track of theirs. On the bootleg, “Tales From The Cramps: Vol. 1″, there’s a great version from the Hot House sessions in New York. There’s a live recording of it on “Smell of Female“. So this might be the first official studio-recorded release of it, but don’t hold my feet to the fire. It’s got a great riff, a dynamic vocal.

3. “Twist & Shout”
What’s fun about this is that it was a part of their live sets very early on, but came and went as newer original songs began to flood their set lists. There was, at one time, a different vocal attached to this: “drug train.” They went back and forth on what lyrics they would use. I prefer the “twist and shout” lyrics.

4. “Jungle Hop”
This song came out officially on “Psychedelic Jungle” with Kid Congo on guitar, so what you get on “Gravest Gravy” is Bryan Gregory Monday-morning quarterbacking. Both guitarists are great, but Bryan is just more aggressive, more dissonant. Kid was fuzzier and, like the album title portends, it’s hazier on “Psychedelic Jungle”. When Bryan went more aggro, [drummer] Nick Knox got more forceful and intense because The Cramps had no bass player. He got a lot of attitude from Bryan on this track, so this wound up as one truly gnarly version of this cover of a 1958 Kip Tyler song, with Alex guesting on keyboards under the name “Booker T. Chilton.”

5. “I Can’t Hardly Stand It”
This song was in The Cramps’ sets going back to the Max’s Kansas City/CBGB days, but Kid Congo did wind up recording a version later on. Lux has got a great vocal here on the 1977 take. This is a cover of a King Records Charlie Feathers song from 1956. Ivy and Lux really loved Charlie Feathers.

6. “Hungry”
Me being a tape trader nerd boy from day one, hearing this song done in a studio version in 1977 was a must. It’s a Paul Revere & the Raiders song from 1966 with Chilton playing the organ. The early CBGB and 9:30 Club—back when that spot was called The Atlantic—tapes had this track in their set lists. Real blink-and-you-miss-it stuff. I knew nothing about Paul Revere & the Raiders, and Cramps fans should be thrilled by the fact that they were covering a British Invasion band. They mostly played rockabilly covers.

7. “The Natives Are Restless”
This has a completely different lyric than the version they recorded on “Psychedelic Jungle“. I actually prefer these lyrics to the latter-day set that we’re more familiar with. This version is more hectic, Bryan Gregory at his best. A lot of the energy that you hear coming through on “Gravest Gravy” comes from nerves more than it does confidence. Even though Lux is large and in charge vocally, I think this record benefits from youthful enthusiasm. It’s more excitement than nerves. It’s like a dog on the first day of snow.

8. “Domino”
This song presented my greatest question mark when I received the reels. I mean, it was on the tapes they gave us, so it went on this record. But “Domino” had already been released on 7-inch. Why are we hearing a different version? The original was great. 

9. “Can’t Find My Mind”
This is one of the more fun tracks that we find later released on “Psychedelic Jungle“. It’s also on some of the earliest Cramps live tapes—like Van Halen and Devo, so many of their earliest songs wound up on their second album. Great concept, being so high on something. Great rhyme. Think “Just Dropped In (To See What My Condition Was In).” We had two mixes on this song, but I really got grabbed by Lux’s heavy echo on the vocal on this take. You should A/B it against the “Psychedelic Jungle” version.

10. “Rockin’ Bones”
Ronnie Dawson, the Blonde Bomber, wrote this. It winds up later on “Psychedelic Jungle”, but what’s interesting about this early version is that it’s closer to other raw demo versions of their songs. They did this song the first time I saw them on April 20th, 1979. The “raw bones, raw bones” shouting—that’s Bryan Gregory. Watching him scream while all of his acne scars turn bright pink—that guy terrified me. The “Psychedelic Jungle” version is very opiated. Great, but on ether. I love that this take is more uptempo. 

11. “Problem Child”
This is another Max’s-era live track. Roy Orbison recorded this and claimed ownership. Sam Phillips did, too. There are documents to both effects. I don’t want to get called out by any musicologists. Anyway, remember that Chilton wanted them to play everything they had, and this is one of the best songs that flew in and out of their set lists in the early days.

12. “Rocket in My Pocket”
This is a 1958 Jimmy Lloyd track, and one of the greatest A-sides that I ever heard. When I first saw The Cramps, they did “Rockin’ Bones,” “Human Fly,” and “Rocket in My Pocket.” After the show, I wanted to hear these songs again, immediately. I never even realized at the time that only “Human Fly” was an original. I forever believed that they’d never made a studio version of “Rocket.” Hearing it now, going through those tapes—that was mind-blowing. After this track, we segue into Lux yelling and screaming right at the beginning of what was going to be a vocal take for “[I Was a] Teenage Werewolf.” Experienced Cramps fans will actually remember this yelling and screaming—an edit of this studio argument, Lux having a meltdown, going a little bit diva—as the CD extra on “Songs the Lord Taught Us“. There’s actually a longer version of his argument, Maybe we’ll put that out, too.

Spacey Jane recorded ‘Exit Wounds’ during the sessions for 2025’s ‘If That Makes Sense’, but these six songs stand firmly on their own. The EP pushes the Australian band’s ‘80s-influenced indie rock and pop further, with bright guitars and melodic hooks underpinning Caleb Harper’s confessional, autobiographical lyrics.

“Exit Wounds”, the new EP from Australian indie-rock sensation Spacey Jane, builds on the band’s unstoppable momentum following the release of their critically acclaimed third studio album ‘If That Makes Sense’. Produced by Day Wave (Calum Hood, Pete Yorn, Olivia O’Brien) and John Hill (Cage the Elephant, Phantogram, Foals) and mixed by Lars Stalfors, ‘Exit Wounds’ was written and recorded in Los Angeles during the making of ‘If That Makes Sense’. The band’s previously released tracks “Do You Really Love Her” hit the Viral 50 Charts in both U.S and Australia and “I Never See Her” received praise from the likes of FLOOD Magazine who proclaimed, “Spacey Jane gets caught in the middle of their feelings on new high-tempo Bop.”

Rather than leftover material, ‘Exit Wounds’ offers another side of the band and the period that produced their third album.

Jimi Hendrix’s first Berkeley Community Theater show from May 1970 is presented in full running order on “Magic Boy“. The performance includes ‘Hear My Train A Comin’’, ‘Johnny B. Goode’, ‘Purple Haze’ and ‘The Star-Spangled Banner’, alongside fierce versions of ‘Fire’ and ‘Voodoo Child (Slight Return)’. Hendrix also works through developing songs ‘Ezy Ryder’ and ‘Freedom’, plus Band Of Gypsys material ‘Message To Love’ and ‘Machine Gun’, capturing a restless guitarist pushing beyond his Experience-era sound.

In his brief four-year reign as a superstar, Jimi Hendrix expanded the vocabulary of the electric rock guitar more than anyone before or since. Hendrix was a master at coaxing all manner of unforeseen sonics from his instrument, often with innovative amplification experiments that produced astral-quality feedback and roaring distortion. His frequent hurricane blasts of noise and dazzling showmanship — he could and would play behind his back and with his teeth, and set his guitar on fire — have sometimes obscured his considerable gifts as a songwriter, singer, and master of a gamut of blues, R&B, and rock styles. After working as a backup guitarist in the early ’60s, he launched a solo career in 1967 with the psychedelic debut record “Are You Experienced?” The follow-ups “Axis: Bold as Love” and “Electric Ladyland” were more diffuse and experimental. Hendrix later formed the Band of Gypsys to pursue funkier directions, and recorded an erratic live album with the new lineup. Unfortunately, his career was cut short by a fatal overdose in 1970.

Fans first became aware of his Berkeley performance when two early posthumous releases featured a stunning Hear My Train A Comin’ on 1971’s “Rainbow Bridge” and his electrifying rendition of “Johnny B. Goode” on 1972’s “Hendrix: In The West“. The shambolic 1971 film Jimi Plays Berkeley stoked the fires further with extracts of “Purple Haze” and the “Star Spangled Banner”.

“Magic Boy” includes those two classics and assembles the performance in its running order for the first time. It also offers “Ezy Ryder” and “Freedom” in development before completion in the studio by the guitarist, plus “Message To Love” and “Machine Gun” from his recent “Band Of Gypsys” album, alongside “Fire” and “Voodoo Child (Slight Return)“, all newly remixed by Eddie Kramer from the original multi-track tapes.

“Magic Boy” presents Jimi Hendrix‘s legendary first show at the Berkeley Community Theater in May 1970.

Little Grandad waste little time getting to their debut album ‘Speak Softly, Son’, produced by Kev Jones of Wunderhorse. Formed little more than a year ago, the London four-piece have built their reputation through relentless gigging, and that live energy runs through the record.

Unpredictable, loose and difficult to pin down, it captures a band finding their sound in real time.

Just a few months after launching their debut tracks, the London four-piece waste no time at all, taking rare, precious days off the road to put down their debut album.

“Speak Softly, Son” is a timely approximation of where Little Grandad are at, and an excellent advertisement for those live shows. Here’s where the story really starts…

The band has made quick work of creating a buzz since forming just over a year ago. Gigging relentlessly and picking up new fans everywhere they play. It’s a story as old as time.

Their songs sound like a sort of Venn diagram of rust-belt Americana, Brooklyn-informed slacker-rock, and warm yet ramshackle British indie guitar rock. It also sounds nothing like those things. It’s chaotic, teeters on the brink of collapse, but somehow hangs together. It’s properly exciting because you can’t put your finger on what it is, and neither can they.

“Truth Or Consequence” is a live album following the concert film of the same title, in which Amyl And The Sniffers perform country-influenced versions of their songs, two unreleased tracks, and a cover of the Slim Dusty classic “Lights On The Hill“. It was recorded and filmed in front of an intimate and increasingly rowdy audience at El Coyote in Los Angeles on April 28th, 2025, by the band’s long-time collaborator,