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Mitos & Ritos, the debut EP by the Ecuadorian group Cruzloma, consolidates in its six songs a spirit of promoting traditional rhythms in contemporary styles, a process of reinvention and self-discovery in homage to the indigenous peoples of the Ecuadorian jungle and the riches of ceremonial music all in a mix featuring electronica, global bass and dembow. The hostile times humanity is going through have awoken a need to get back to our roots, reclaim ancestral knowledge, and question where the excessive exploitation of natural resources has led us. We have heeded that urgent call to care for everything that seems unlimited but which is increasingly scarce. And so we have looked to the past to understand our relationship with what surrounds us and establish a dialogue between the past, the present and the uncertain idea of the future. Applied to music, this has aroused the interest of artists and producers who use the rich folklore and traditions of Latin America to replicate that dialogue between what was and what will be. With this in mind, Mitos & Ritos ("Myths and Rites"), the debut EP by the Ecuadorian group Cruzloma, consolidates in its six songs a spirit of promoting traditional rhythms in contemporary styles, a process of reinvention and self-discovery in homage to the indigenous peoples of the Ecuadorian jungle and the riches of ceremonial music, based around the bambuco style from Esmeraldas on the northern coast, and the bomba del chota and the san juanito from Imbabura province. On this EP there are also sacred prayers of the Shuar nation, called Ujaj and Anets, including ceremonies like the taking of ayahuasca and of the tzan tza, all in a mix featuring electronica, global bass and dembow. It is a journey into mysticism, the jungle and the dancefloor, reflecting a search for musical identity that is at once contemporary and futurist.

A home, a house, has countless frequencies. Each room, each corner feels different. Swings differently. And as you grow older, you realize which corner is yours. But yeah, it takes time…

It certainly marks the end of an era when the house one called home as a kid no longer exists. This home, it was the starting point of so many journeys. Of one big, ongoing journey. And so it feels good, soothing, reassuring to at least return to a spot nearby – to that (proverbial) hill from where you can see it. Feel the vibe that made you.

Andi Haberl’s debut solo album as Sun is sort of dedicated to that house. It’s a journey leading to that hill overlooking everything that made him. It’s not about nostalgia, not about actually returning to a specific place. Instead, it’s about finding a personal frequency, an overlapping of sounds and samples, an open space that mirrors and extends whatever frequencies felt right at different points in time.

“To me, the results feel like Gold Panda/Four Tet meets Steve Reich meets Krautrock meets film scores. I just really wanted to create moods that touch me – and ideally others, too.”

Talking about his first solo album, Haberl recalls many stages: early compositions that ended up on Alien Ensemble’s albums, early DIY/home studio/multi-instrumentalist inspirations (Le Millipede), new technologies that came and went, even a set of wildly convincing arrangements (done with Cico Beck’s crucial input) that ultimately became stepping stones for yet another round of DIY takes. “It was a long, recurring process, and the songs went through so many different versions,” he says, talking about phases of growth (“I added more and more equipment over time”) and pruning, “cleaning up my music a bit.” Tending towards instruments that open up space, and slowly falling in love with sampling, he certainly didn’t rush things once it was time for interior design decisions ;)

“During this whole process I got to learn so much about my own taste, how I prefer to listen to the pieces, which musical elements really matter to me… and what my own voice is. For example, that acoustic elements are most important to me: the banjo, piano, drums, my voice, glockenspiel, trumpet, melodica. Anything that opens up some space.”

Every journey begins with a search: “Missing” with its plucked chords opens like a sunrise over pastoral plains, gently leading the way towards the intricate, playful explosion that occurs once a certain amount of energy (“Sun”) hits dirt and other surfaces: things grow, clot and curdle into new shapes, like new buds; layers of sound move forward, drenched in Spring’s new light. Relying on samples to ask for precipitation (“Rain On Me”), robotic “Low” goes from barren to bass-heavy after its midway shift in pace, full of loops plucked from the shade.

Towards the album’s midpoint, things are suddenly reversed: “Cluster” has that backwards pull, you can’t tell what’s what, yet everything is perfectly locked in, as the pace increases once again. And before the title song shimmers with densified cheering (to eventually stand tall like early Lymbyc Systym), “Beside Me” swipes you off your feet with its booming bass drum. The beat returns once again (“Daydream”), full of searching voices underneath, and at “Dawnday,” we can finally catch a melancholy view of the house. Voices hum. It’s the score moment of the album. Everything makes sense now. A happy end of sorts?

“I want to take people on a journey. A personal journey, too, because when my parents split up and sold the house I grew up in, I felt a bit like the ground had fallen out from under my feet. But I have dedicated the album title and the accompanying piece to this house… so I can keep it in good memory.”

“I Can See Our House From Here” has been a long time coming. It’s been a long journey. Homeward-bound. Leading to a place that’s really Haberl’s – his sound. His frequencies.

Known as a long-time member of The Notwist and various other bands/projects (Alien Ensemble, AMEO, jersey, Ditty etc.), Berlin-based drummer/composer Andi Haberl has also worked with My Brightest Diamond, Till Brönner, Owen Pallet, and Kurt Rosenwinkel, to name a few. “I Can See Our House From Here” is his first solo offering.

A1 - Permeate
JLM returns to Spatial with another superb selection of old school inspired tracks. Kicking us off is Permeate, with anxious melodies evocative of 90's sci-fi introducing proceedings before filtered old school breaks slowly rise into the mix. An early breakdown with the playful bassline flying solo for a spell precedes superbly executed amens adding a thick layer of detail to an eclectic beat pattern.
A2 - Orogeny
Orogeny opens with a lush old school riff, classically off-key melodies and echoing pads as the varied beats takes shape - effortlessly navigating a range of breaks to create a unique, bouncy pattern evoking a dynamic mid 90's energy with a captivating rhythm. Tuneful synth work and jazzy drum samples deliver an entertaining breakdown before the breaks resume for the latter half, airy pads adding further texture to the track.
AA1 - Subsidence
A contemplative, introspective tone is set by a delicate melody in the introduction to Subsidence, a track which showcases the variety of atmospheres JLM Production scan glean from his unique brand of drum & bass on Spatial set to the usual high standard of classic breaks and bass. Majestic pads and synths envelop the listener in a solemn haze, while a more intense, darkly melody counters, creating a divergent synergy to the vibe.
AA2 - Laminar Flow
Closing the EP in style, we are treated to a jazzy, melodic introduction to Laminar Flow with rising strings and vocal samples, before inspired 80's style synth sounds zip around the mix to a subtle, clean 2-step breakbeat. JLM ups the ante with a crisp Hot Pants break layered over the top while the jazz-inspired Rhodes key shifts craft a tuneful aura as cow bells ring throughout, rounding off another sublime and varied experience for the ears.

Words by Chris Hayes Spatial/Red Mist

Black Truffle is pleased to announce Resonant Trees, the first vinyl release from French composer-performer Léo Dupleix. An active member of the international community of younger musicians working with just intonation, Dupleix has composed works for solo instrumentalists and ensembles in Europe and Japan, as well as performing extensively on harpsichord, piano and electronics. His music is distinguished by a formal clarity and elegance of surface, gently shaping pure intervals into delicate melodic patterns and shimmering harmonic planes.

Resonant Trees presents two side-long pieces for harpsichord and ensemble, both setting slowly repeating patterns played on harpsichord and guitar within an environment of sustained tones. Dupleix performs on a French double manual harpsichord (tuned to a just intonation scheme of his own devising) and Prophet synthesizer, joined by Juliette Adam (bass clarinet), Johanna Bartz (traverso flute), Cyprien Busolini (viola), Fredrik Rasten (6- and 12-string guitars), and Mara Winter (traverso flute). The harpsichord begins Resonant Tree I alone, slowly sounding out a series of arpeggiated chords that emphasise the unique (and for unaccustomed listeners, sometimes unsettling) harmonic and timbral qualities of justly tuned intervals. Long tones from synthesiser, bass clarinet, viola and Baroque traverso flutes slowly creep into the spaces between the arpeggiated chords, joined after several minutes by delicate patterns of harmonics played by Rasten on acoustic guitars.

On Resonant Tree II, a similar structure and ensemble (without the flutes) are used with quite different results. We again hear only the harpsichord at first, but this time playing a series of flowing melodic lines, each of which is repeated several times. Joined again by long tones from the ensemble, here the viola is particularly prominent and its interplay with the harpsichord creates fascinating acoustic effects. In both pieces, repetition gives the music a static, stable quality while, at the same time, the exact shape of the repeating patterns remains difficult to grasp. As Dupleix writes, these pieces dream of music as ‘space and a sound that one could grasp in one’s hand.’ As the near-static quality of the repetitions and long tones with little incident make these two stretches of musical time feel like spaces for the listener to inhabit, the small variations on a narrow range of related material act like a three-dimensional object whose each facet is examined in turn. At once austere and seductive, Resonant Trees takes its place beside the work of contemporaries like Catherine Lamb, while also calling up the languorous melodic world of Mamoru Fujieda, the dignified melancholy of Satoshi Ashikawa’s classic Still Way and the espaliered chamber atmospherics of the Obscure catalogue.

Streng limitierte Neuveröffentlichung auf blauem Vinyl der 1985er Mini-LP der australischen Indie-Rock-Legenden Crime & The City Solution. 'Just South Of Heaven' wurde in der "Londoner Besetzung" mit Simon Bonney, den ehemaligen Birthday-Party-Größen Mick Harvey und Rowland S. Howard, Rowlands Bassisten-Bruder Harry Howard und dem Schlagzeuger Epic Soundtracks (früher bei Swell Maps und Jacobites) aufgenommen. Die Platte präsentierte einen verfeinerten Sound im Vergleich zu ihrer selbstproduzierten EP und wurde zwischen den Hansa Tonstudios in Berlin und The Strongroom in London mit Toningenieur Flood (a-ha, Depeche Mode, Erasure) aufgenommen. In einem Interview mit Uncut erklärte Harry: "Die erste EP, 'The Dangling Man', war ein bisschen roh. Für 'Just South Of Heaven' haben wir versucht, eine elegantere Platte zu machen, und das hat ganz gut funktioniert."

HOLY MOTHER präsentieren den Nachfolger von "Face This Burn" und ihr insgesamt siebtes Studioalbum: "Rise"!
In einer Karriere, die sich von den 1990er Jahren bis heute erstreckt, haben HOLY MOTHER einige der mitreißendsten Songs ihres Genres abgeliefert und ihr neues, bis dato härtestes und kraftvollstes Album bildet keine Ausnahme.
Hymnen wie "Rise", "Power", "Fire", "Rain", "Jeremiah" und "Hex" gehen ordentlich ins Ohr, und der Klassiker "Live To Die" vom hochgelobten "Toxic Rain" Album, wurde von HOLY MOTHER zu neuem Leben erweckt und lässt den Geist des verstorbenen HOLY MOTHER-Mitbegründers Randy Coven auferleben.
Mit Mike Tirellis an Ronnie James Dio erinnernde Vocals, den passionierten Shreds des Gitarristen Mickey Lyxx, den treibenden Drums von James Harris und Wayne Banks' flinken Fingern am Bass, werden HOLY MOTHER alle Hard Rock- und Metalfans begeistern!

Keith Hudson was a one-of-a-kind musical innovator with an impeccable track record from the start: his first studio recording involved former Skatalites, and his earliest releases provided solid-gold hits for Ken Boothe (“Old Fashioned Way”, 1967), John Holt, Delroy Wilson, U-Roy and the others.

With Pick A Dub Hudson produced one of the best dub albums ever, and with The Black Breast Has Produced Her Best, Flesh Of My Skin, Blood Of My Blood he released the first concept album in reggae history, bringing his all-around talents to full fruition as early as 1974. Thematically dedicated entirely to Black history, the latter of these two albums is a masterpiece that captivates with an atmosphere that is as dark as it is deeply spiritual, charged by Hudson's eccentric vocals. Like Lloyd Bullwackie Barnes, his splitting from tradition was dynamic and all his own.

As his career moved on, Hudson found himself working outside of Jamaica, more frequently in London and New York studios and for transatlantic audiences, his dark experimentalism becoming increasingly better suited to the LP than the cardinal 7” reggae format.

Playing It Cool & Playing It Right was released in 1981 on the Joint International label, in NYC, with Lloyd Bullwackie Barnes as the executive producer. The Love Joys and Wayne Jarrett, stalwarts of Barnes' record label, Wackies, would also inimitably feature Hudson at the microphone. Like Bullwackie, Hudson was a devotee of Coxsone Dodd’s Studio One and Playing It Cool & Playing It Right follows Dodd’s then strategy of overdubbing his signature rhythms. The Studio One sides were aimed at the dancefloor and Hudson’s reworkings of tracks like “Melody Maker” are more psychological. Here, deep Barrett Brothers rhythms are made deeper with reverb, filters and distortion; everything pitched down and overlaid with new recordings of guitar, percussion, keyboard, and voice, often heavily treated.

Playing It Cool & Playing It Right continues Hudson’s psycho-acoustic journey into the abysses of existence, and overwhelms with the beauty of artistic self-empowerment. "Too much formula," sings Hudson, whose voice is occasionally reminiscent of Sly Stone or even Tom Waits. "Darkest night," answers an echoing background choir elsewhere. Even more fascinating is Hudson's production, which reflects Black history in even the smallest sound detail, the flashing whip of the slave driver still echoes in the sound of the snare drum. Rarely has a roots sound been made so electrifying, so expansive in all directions, so crystal clear, so bass-warm and echophonic as on these 30 minutes of music.

Playing It Cool & Playing It Right is legendary, strange, utterly compelling music that has possibly never been more topical than it is today.

"A 'Pear' of albums on one vinyl LP... a combo of heavy psychedelia, drum and bass grooves, bouncy boogie, catchy tunes and sprinkles of tastee horns, keys and strings thrown in... kinda like a thumb over the genre-hose nozzle, something for everyone and nothing for someone... guaranteed! 'Grow A Pear' has been in the works for 5 years. What started as my contributions for the 'new' Butthole Surfers' album that was not to be... turned into a solo album I recorded with contributions from some of my favorite flavor players to create an album that most represents where I came from and bridges to where I'm at right now. My wishes for the future, is that everyone in the world will finally 'Grow A Pear'" - JD Pinkus 'Grow A Pear' features a veritable cornucopia of American Indie music radicals: Åsa Söderqvist and Lina Ericcson of Shitkid, Paul Leary of Butthole Surfers, Sam Coomes of Quasi and Jon Spencer's Hit Makers, Mike Savino of Tall Tall Trees, Walter Daniels of Bigfoot Chester, Mike Alfred of Shed Alford, Jed Willis of Khandroma, Michael Brueggen of Honky and Syrup, and Billy Sheeran.

In this collection of bass-led duets, Charlie Haden enlists Don Cherry (trumpet/flute), Archie Shepp (tenor), Hampton Hawes (piano) and a trumpet playing Ornette Coleman on the four tracks. Hawes’ playing on the Ornette-penned “Turnaround” is the clear straight-ahead highlight of this generally exploratory album. This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

Recorded in 1956 for Tom Wilson’s Transition label, Watkins At Large was the first of two albums bassist Doug Watkins made as a leader. With a first-rate band featuring Donald Byrd, Hank Mobley, Kenny Burrell, Duke Jordan, and Art Taylor, Watkins swings through a stellar set of blues, ballads and more. This mono Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe tip-on jacket with an 8.5” x 5.5” booklet.

BufoBufo (Klasse Wrecks, Dream Ticket, Cabaret) and Qeta (Further Electronix, Wave Function, brokntoys) join forces for an eight track split LP, diving into aquatic synths, sliding breakbeats and amphibious atmospheres. Moving from the galactic leads and drum & bass tempo of BufoBufo’s ‘Caloris Basin’ to the dreamy melodies and trip-hop beats of Qeta’s ‘Art II’ , it ends on the expansive, horizon-gazing tones of their collaboration ‘Gloaming’, all shimmering interwoven bleeps and hefty breaks.

Closing off a four release run with Samurai Music and affiliated labels, Eusebeia collaborates with Aisatsaana for the Transformation EP on Samurai Music. The combined creative perspective and approach of the two artists results in a textural adjustment, a glistening and psychedelic sheen is sprinkled over the tempered kick/break/bass combos. It's a perfect EP that smoothly traverses mood waves.

A1 - Polaris
Going all in to open the EP with a truly stand out 2-step roller, ASC crafts a distinctly energetic vibe with Polaris, featuring an intricate old school break seldom heard in drum & bass - packed with high-end detail and a glorious raw energy. With long radiant pad work, a classic jumpy 808 bassline and a stunning, reverberating female vocal sample whooshing and panning across the mix, Polaris will instantly become a favourite in your setlist.
A2 - Things Left Unsaid
Opening with an intriguing fusion of suspenseful keys and deliciously crisp bongos that each play a key role throughout, Things Left Unsaid asks the listener questions of yesteryear in a varied odyssey filled with a myriad of echoed vocal samples, horns and effects, set to a break-laden beat pattern that hops along with kicks and snares each snatching the attention. A calmer vibe from ASC that still packs a punch.
AA1 - Temple Bell
A thumping, spirited beat pattern with rapid kicks and metallic snares provide a visceral aural onslaught as the aptly-named Temple Bell blends our imperious breaks with darkly, epic tolls radiating through a vast ornate hall of resonance -suitably reverberating alongside a backdrop of synchronic atmospherics. Heavily EQ'd vocal samples colour the mix to complete a weighty musical collage.
AA2 - Contrast
Beginning with a flurry of cow bells in a vibrant, expertly edited take on the classic Circles break, ASC serves up a delightfully laid back yet danceable piece with Contrast. Space FX, swirling pads and a mellow, memorable key melody overlay a beautiful mosaic of calm as the continued thrust of the break drives a constant energy to the track, perfectly capturing the ethos of Spatial and closing another immense EP

Words by Chris Hayes Spatial/Red Mist

Second physical record from KNOWN ARTIST brings forward the 4th EP from the french duo. Alex Kassian brings his sophisticated touch to warm “Get Up” into a chugging aerial soother. Aldonna honors “Say What ?” with high spirited energy from the depths of Me lbourne. The rest is the same business not business of signature rubber basses and chopped alarms!

Legendary band SOFT, the driving force behind Kyoto's party scene and underground music culture, releases their new album "Passing Tone" from their home base "softribe" to commemorate their 30th anniversary!

This release marks the first time since the 2018 album "Tokinami" that Soft has released new music. It also comes on the heels of the 2021 vinyl reissue of their 2010 album "Tam (Message To The Sun)" on the labels 17853 Records (headed by CHEE CHIMIZU), TUFF VINYL, and Crosspoint (headed by J.A.K.A.M.).

Guest appearance by former member PRITTI. The album was created by the three founding members: guitarist SIMIZ, drummer PON2, double bassist UCON plus engineer and electronic musician KND, a mainstay of the Kyoto music scene.

Evoking the energy of a live performance, the music pulses with psychedelic soundscapes and dub influences. The 30th anniversary live shows in Osaka and Kyoto were met with resounding success, and the Asian tour followed suit.

Experience the enchanting sounds of music born from Japan.

text by Saito (Newtone Records)

Brachiales Drumming, ein massiv drückendes Basslick und kreischende Gitarren - so eröffnet der heißeste Postpunk-Newcomer vom Monte Scherbelino - dem Trümmerberg aus dem 2. Weltkrieg auf dem Birkenkopf Stuttgarts - sein unverschämt souveränes Debütalbum "Scherbenhügel". Die 2021 gegründeten BERLIN 2.0, um die mit ihrer sonoren Stimme gesegneten Ausnahme-Vokalistin Elena Wolf, liefern damit ein absolutes Highlight ab, unter dessen waviger Oberfläche immer eine nicht von der Hand zu weisende, rohe Punkrockbasis lauert, die sich natürlich auch in den exzellenten deutschsprachigen Lyrics niederschlägt. Hardcore-Versatzstücke vermengen sich mit dem Einfluss von US Deathrock, bergen aber eben auch diese herrliche Pop-Affinität, die die 10 Stücke von "Scherbenhügel" gleichsam so fordernd und fragil wie dringlich und emotional wirken lassen. Zwar erwachen durchaus wohlige Erinnerungen an Bands wie Xmal Deutschland, II. Invasion, EA 80, Hysterese oder die Terrible Feelings, BERLIN 2.0 definieren auf "Scherbenhügel" aber meisterhaft ihren ganz eigenen wehmütig-desillusionierten Sound, der einen sofort einfängt und einfach nicht mehr los lässt.

Anlässlich des 50-jährigen Bestehens der berühmtesten Vier aus Birmingham werden die "Erfinder" des Heavy Metal von dem prominent besetzten Tribute-Trio um Gitarrist und Sänger Zakk Wylde mit dem Doppelalbum "Doomed Forever Forever Doomed" erneut geehrt. Mit dieser liebevolle Hommage liefern die Amerikaner brillante Interpretationen von BLACK SABBATHs zweitem und drittem Album ab, also die klassischen Heavy Metal-Meisterwerken "Paranoid" (1970) und "Master of Reality" (1971).

ZAKK SABBATH wurden von BLACK LABEL SOCIETY-Gitarrist und Sänger Zakk Wylde gegründet, der auch als langjähriger Lead-Gitarrist von OZZY OSBOURNE und inzwischen auch noch von PANTERA bekannt ist. Nachdem ZAKK SABBATH anfangs mit wechselnden Mitgliedern nur live auftraten, fand die Band schließlich mit dem OZZY OSBOURNE- und ROB ZOMBIE-Bassisten Blasko und Joey Castillo am Schlagzeug (DANZIG, QUEENS OF THE STONE AGE) eine stabile Besetzung. Inspiriert durch das 50-jährige Jubiläum von BLACK SABBATHs selbstbetitelten Debütalbum, veröffentlichte ZAKK SABBATH im Jahr 2020 eine Hommage an diesen monumentalen Heavy Metal-Meilenstein unter dem Titel "Vertigo". Das Album wurde von Kritikern und Fans gleichermaßen mit Lob überhäuft. Das Trio feierte einen weltweiten Erfolg, der sich in beeindruckenden Platzierungen in diversen Charts widerspiegelt: Das Album stieg auf Platz 5 in den US Hard Music Charts, Platz 7 in den Current Rock Albums Charts und Platz 27 in den Billboard Top Album Charts ein. In Frankreich gelang sogar ein Platz 1 in den Metal Album Charts und neben einem Platz 3 in den deutschen Album Charts sowie Platz 9 in den UK Top 40 Rock/Metal Charts finden sich weitere Einträge in anderen Ländern.

Die glühende Leidenschaft für Heavy Metal hat ZAKK SABBATH dazu getrieben, BLACK SABBATH mit dem Doppelalbum "Doomed Forever Forever Doomed" ein noch monolithischeres Denkmal zu errichten. Nicht allein Headbanger dürfen sich über fantastische Interpretationen dieser klassischen Songs freuen, die sicherlich zu den einflussreichsten und folgenreichsten zählen, die je von Menschenhand komponiert wurden!

Sect have a lot on their minds. With the release of their brand new single, New Low and the promise of Plagues Upon Plagues, the follow up full-length to 2019’s Blood of the Beasts, Sect explore the intersection of issues which have cascaded over us for the last five years, the “plagues” of the title referring to the literal pandemic, and the metaphorical plague of the political state and the rise of fascism.

Comprised of an international cast of stellar musicians, who cut their teeth in a formative moment of political, cynical, antagonistic extremes, Sect unites Scott Crouse (Earth Crisis, Tooth & Claw) & Jimmy Chang (Undying, Catharsis) - guitars, Steve Hart (Day of Suffering, Mania For Conquest) - bass, Andy Hurley (Fall Out Boy, Racetraitor) - drums and Chris Colohan (Cursed, Unwell) - vocals. They released No Cure For Death in 2017 and Blood of the Beasts in 2019.

Plagues Upon Plagues opens with the bereft waves of “No Uncertain Terms”, a side of the band we haven’t seen before. Vocalist Chris Colohan describes this album as “a funeral rather than a trial”, the activism of previous releases fading to sorrow and grief.

Lead single New Low follows with the advent of marching drums, a funereal procession for the world we hoped to build. There’s frantic horror on the album too, with the track “Drowning in Sorrows” taking a look at the ways in which we numb ourselves as a society. “#ForeverHome” is a bitterly angry track about how people used animals for both narcissistic virtue signalling and one-way comfort in the pandemic, and abandoned them en masse just as selfishly when social life came back. Speaking to their straight-edge principles and how that continues to feed into their songwriting, Chris says, “the only kind of straight edge songs I’m interested in writing are dynamic ones that address human realities that you don’t have to be straight edge to engage with.”

On Plagues Upon Plagues, Sect pierce through the veil of complacency, forcing listeners to confront uncomfortable truths about the fragility of our world. The band wields their sonic arsenal like a prophetic warning and with raw vocals and uncompromising lyrics, they confront the harsh realities of existence in these tumultuous times. As society teeters on the brink of chaos, Sect's cold hard statement resonates with an urgency that cannot be ignored.

Ella Fitzgerald was an great American jazz singer, sometimes referred to as the "First Lady of Song", "Queen of Jazz", and "Lady Ella". She was noted for her purity of tone, impeccable diction, phrasing, timing, intonation, and a "horn-like" improvisational ability, particularly in her scat singing. Louis Armstrong, nicknamed "Satchmo", "Satch", and "Pops", was an American trumpeter and vocalist. He was among the most influential figures in jazz. His career spanned five decades and several eras in the history of jazz. Together Ella & Louis recorded various songs. On this 3 LP in a gatefold sleeve the complete “Ella & Louis”& “Ella & Louis Again” albums (30 tracks). All these tracks were recorded in Hollywood in 1956 & 1957 with on most tracks Oscar Peterson on piano, Herb Ellis on guitar, Ray Brown on bass. Buddy Rich played drums on Ella & Louis. Louie Bellson drums on the “Ella & Louis Again” tracks. This Classic Albums Collection is a must have for music lovers.