Ten years after the release of their debut The Deal (2015), and one year after their critically acclaimed album The Healer (2024), Sumac – a band who infect metal music with a free jazz player's unpredictability and a noise musician's penchant for chaos and texture – joined forces with a cultural icon: Moor Mother – poet and sound artist Camae Ayewa, who is coming off the back of the adored album The Great Bailout (2024). The outcome of this special, once-in-a-blue-moon kind of collaboration was The Film (2025), an uncompromising work of sludgy metal, experimental guitar music, and cutting-edge spoken word. While amplifier hums, scattered frequencies, and barrages of power chords and drums form the spine of The Film, it's Moor Mother's verses that pump its heart: speaking her close-held truths, she shares them abundantly with a cutting clarity that strikes through the cacophonous sludge battery of Sumac. Swirling convection currents of snarling riffs flow in and around Moor Mother's poetic and punchy commentary which not just speaks but howls truth to power.