OBLIQUE VISIONS Announce A Live Album, Live at Eden Arena Maltese death-doom outfit OBLIQUE VISIONS have announced the release of a live album, Live at Eden Arena, set to arrive on Friday, 13th November. Captured live at Eden Arena on 4th July 2025, the album documents a special performance as OBLIQUE VISIONS opened the inaugural Malta Metal Weekend Festival, sharing the bill with an impressive line-up featuring OPETH, CEMETARY SKYLINE, JEFF TATE, APOCALYPTICA and DREAM THEATER. The official launch of Live at Eden Arena will take place at the 20th edition of Doom Over Vienna, where the band will also celebrate an important milestone: 35 years since their formation. The event will see OBLIQUE VISIONS sharing the stage with doom-death heavyweights OFFICIUM TRISTE, alongside several other outstanding acts. With fewer than 100 copies being produced, Live at Eden Arena will be an extremely limited-edition release. Fans are encouraged to contact the band directly to secure their copy before they sell out. A signing session will also take place at Kickstart Rock Bar, Sta. Venera, on 22 November at 18:30. A limited selection of additional merchandise will also be available on the day.

The next person to tell me 'the scene is dead' clearly hasn’t been to Grintafest. While I unfortunately was born in the wrong generation to be a part of the original Maltese punk scene, the energy in Tigullio during Grintafest is something that can’t be ignored. There is a hunger for these types of events that was made clear by what had to be hundreds of people coming together, creating a sense of community that’s felt quite hard to find nowadays. Grintafest Crowd - Photo: Sarah German The lineup brought together classics such as BNI and Pupi tal-Logħob, who made their return at Grintafest after nearly 8 years out of the spotlight, with bands like Bila, Bruda, and 5 Years From Now, as veterans of the original scene passed down the torch to the eager new crowd. One of the most distinctive things about Grintafest was its focus on the physical side of music. That comes naturally to David Cauchi, the festival’s organiser, who also created the punk zine Smashed to Shit. Physical tickets and voting ballots for the next President of the MaltaPunks added an interactive element, making people truly feel like they were part of the festival. Pupi tal-Logħob - Photo: Sarah German The festival was flawless from beginning to end, of course thanks to David, who has made this his life for the past few months. I also can’t go without mentioning the amazing Sarah German, who is always ready to drop everything for the punks, even if it meant dressing up as an angel with me on stage in front of an endless crowd of eager Xtruppaw fans, waiting for their highly anticipated tribute band, Il-Banda ta’ San Ċipress, to take the stage. Il-Banda ta’ San Ċipress - Photo: Sarah German Xtruppaw shared the same sentiment, with band member Dino sharing a lengthy post on Facebook, describing how honoured the band felt to see the next generation of musicians and fans screaming their lyrics like there’s no tomorrow. “I arrived there with a dark cloud on my head, lost & full of anxiety... went out of the venue at the end of the festival with a big smile on my face, a plastic tit & fecie memorabilia in my pocket, & a placard with Jeffrey's pic on it begging him for his return on the shithole for Xtruppaw's sake”, Dino wrote, a perfect encapsulation of how important festivals like Grintafest are for the local community. Il-Banda ta’ San Ċipress - Photo: Sarah German While the notorious saying is “f’għoxx il-punks”, I don’t think I’ve ever seen a more dedicated, energetic and supportive crowd, always looking out for each other. I think it’s safe to say that this is not the last we’ll see of Grintafest, and I’m ecstatic to see where it’s going to go in the future. If we want the scene to stay alive, it’s our responsibility to show up for it, and look what an incredible outcome you get when everybody chooses to come together.

The first edition of Grintafest was held on the 21st of September, a public holiday. The festival was the idea of David Cauchi, who, funnily enough, was playing in a black metal band, Luciferi Regnum, when I first met him some time after COVID. In fact, our first conversation was about black metal, the band he was playing with and probably the history of heavy metal, but definitely not punk. During the months of discussions we had whenever we met, I gradually noticed that his biggest passion was actually punk, but more importantly, the Maltese band BNI, a band and a genre that started long before he was born. Then, one fine day during a discussion we were having, probably at The Garage, he mentioned that he had decided to put together a punk festival based on the long-defunct Festatahwid. The last Festatahwid took place around 2009 or 2010 during a two-day festival at V-Gen called Generator, in which one of the days was dedicated to punk as a tribute to Festatahwid. Of course, all this information is from what I can remember, but I still remember that I was the DJ for that festival, Generator, as well. So, when David asked for my help to fill the silence between the bands, I accepted immediately. Of course, the opinions below are mine and are coming from an ageing rocker, and that is why I asked upcoming music journalist Shannah Muscat to give her opinions as well (to be published tomorrow here on melodija.eu). Therefore, one can call this a collaboration between the old and the young. She was also one of “David’s Angels” on the night, as well as taking care of numerous other jobs throughout the event. And before we continue writing about the festival, I have to congratulate everyone who helped David put the event together. The organisation was impeccable. But back to Grintafest. To tell the truth, many of us oldies were a bit sceptical about many things. Would he be able to find emerging punk bands to fit the bill? Would he be able to find any bands from the good old days? Apart from BNI, I don’t think there are any other bands that have survived from that era. Then the line-up was announced and, lo and behold, Pupi Tal-Loghob were making a comeback. Bruda - Photo: Sarah German But let’s start with the band that opened Grintafest – Bruda, a trio who, as they describe themselves, are “an all-girl punk band based in Malta defined by furious Maltese rap, metal-inspired guitars, riot and chaos.” I first heard about them around a year ago and, on 12 April 2025, they launched their debut EP titled Toghma Morra. From the EP, they performed three songs, alongside seven more new songs which, hopefully, will receive the recording, mixing and production they deserve. The band’s lyrics are in your face, and many may even find them offensive, but when one really listens to what they are talking about, it really hits home and reflects the reality we are living in at the moment. Their show was exactly the opening act a punk festival needed to pump up the adrenaline for what was to follow. Five Years From Now - Photo: Sarah German Next up was another relatively young band, although Five Years From Now now have two releases under their belt: Hakem (2022) and Bank Punk (2025). This is a band which one never gets tired of watching, and one cannot help but admire their determination. I have discussed both opening bands with others, and we all agreed that this was what the punk scene needed for a much-desired revival. Seeing young musicians taking the stage with this kind of energy and attitude was certainly encouraging, especially for those of us who have been around the local scene for quite some time. Bila - Photo: Sarah German Up next was Bila, a band that needs no introduction to anyone following the rock scene on the island. Formed by three seasoned musicians – Samuel Mallia, of Eyes To Argus amongst other bands, Nick Morales, who has been involved with too many bands to mention, and Benji Cachia, aka Banjo Rancho, one of the most versatile drummers on the island. By now, after all these years, many people know Bila’s music, but every time I see them, and this is not just my opinion, there is always something else in their set. We all know the songs by now, but every time there is a new – or more – grit and determination in their performance. They are one of those bands that can play songs the audience already knows inside out and still manage to make the performance feel fresh. Pupi tal-Logħob - Photo: Sarah German Hitting the stage next and making their return to the stage after eight years, we had Pupi Tal-Loghob, with a dynamic set made up of original songs alongside such covers as Freddie Portelli’s Mur Hallini and R.A.S.’s Xiz-Zobb Trid. Of course, during Il-45, the mascot joined them on stage. And here it seems the moment to mention another great help David had during the festival: Andrew Cassar, who took care of the numerous props throughout the whole afternoon and into the evening. I must admit that it was very enjoyable to see a band from the old era of Maltese punk re-emerge on stage, and hopefully it won’t be another eight years until we see them perform again. And what can one say about the next band? One can never know what to expect from BNI until the very last note of every performance. Their set list for this event was made up of twenty songs, many of which are now considered anthems of the local punk scene. BNI - Photos: Andre Although they opened their performance with two songs from their latest album, Exponential Self-Destruction (2022), namely Hollow and Simple Plan, the set soon moved through a selection of material that has become familiar to generations of local punk followers. During the set, as per usual, David joined the band for a few songs, playing once again with his favourite band. For someone who had put so much effort into organising a festival centred around the music he loves, seeing him on stage with BNI was certainly one of those moments that summed up what Grintafest was all about. One must say that the majority of the attendees had enjoyed all the performances up to this point, and there was a lot of slam dancing and moshing. But nothing prepared us for what was to follow after BNI, which by themselves are a very tough act to follow. Il-Banda ta’ San Ċipress - Photo: Sarah German Il-Banda Ta’ San Cipress was formed by David once it was official that this event was going ahead. Apart from David, the band is made up of Zain Gauci, Liam Mizzi Peplow, Kurt Cristina, Justin Caruana and Christian Zammit – an excellent mix of young and seasoned talent. The band, a tribute to Malta’s own Xtruppaw, delivered a set of seventeen songs – eighteen altogether, as they were not allowed to leave the stage without playing an encore – under the watchful eyes of Xtruppaw members Dino Mifsud Lepre, Rex Grech Santucci and Noel Cuschieri, who joined the band at different times during the set. All three were full of praise for the dedication and performance they had witnessed. One must also mention the number of props David had prepared, which were used and thrown into the audience during the performance. The set included Xtruppaw’s greatest songs, interpreted with excellence and dedication. Hopefully, this won’t be the first and only performance of Il-Banda Ta’ San Cipress. A very important note: Il-Banda Ta’ San Cipress is the only tribute band which covers a Maltese band. Discussing this with Rex after the show, it was clearly visible how honoured they were to be the only Maltese band to have a tribute band dedicated to their music. Considering the history and importance of Xtruppaw within the local music scene, this was certainly a special moment. Of course, one has to mention all those who helped during the event and contributed to making it the success it was. There were many of them, and I am sorry not to know all their names. And, of course, Steve Lombardo deserves a special mention for the impeccable sound throughout the festival. Photo: Sarah German Grintafest was not simply an afternoon and evening of punk music. It was a meeting point between generations – between those who were there when Maltese punk was taking its first steps and those who are now discovering, developing and reinventing the genre for a new generation. For those of us who remember Festatahwid and the bands that formed part of that era, seeing Pupi Tal-Loghob return to the stage, BNI still delivering with the same unpredictability and energy, and Xtruppaw’s music being performed by a new generation was certainly something special. But perhaps the most important aspect of Grintafest was seeing young bands such as Bruda and Five Years From Now sharing the same stage with musicians who have been part of Malta’s rock and punk history for decades. If this was David Cachia’s attempt to bring some of the spirit of Festatahwid back to life, then perhaps the most important question is not whether Grintafest will return, but what it might look like if it does. And, judging by what we witnessed on the 21st of September, there is certainly an audience ready for it.

Big Band Brothers received an enthusiastic reception in Riyadh on 14 September 2026, representing Malta at the third edition of EU Music Week. As the first Maltese band to perform at JAX, the group brought Malta’s music, language and culture to a new audience. Held at The Warehouse in Riyadh’s JAX district, the concert featured Ibħra (Seas), a production combining live music and storytelling to explore Malta’s relationship with the sea. A distinctive feature of the performance was its focus on the Maltese language, introducing listeners to Malta through the words and sounds of its songs. Drawing on historical accounts and legends, the programme connected life on the islands with wider Mediterranean experiences of travel, migration and the longing for home. The repertoire included familiar Maltese songs such as Id-Dgħajsa tal-Latini, Inti Djamant and L-Għanja tas-Sajjied. Stories of Calypso and Saint Paul’s shipwreck accompanied reflections on fishing traditions, Maltese emigration and the experiences of people crossing the Mediterranean today. The music and narratives presented the sea as a source of livelihood and inspiration, but also a place of separation and loss. The audience responded warmly, with particularly positive reactions to hearing Maltese sung on stage. The performance also sparked conversations about Malta, its language and its cultural identity, giving listeners an opportunity to discover more about the country through its musical heritage. The band’s stay in Riyadh was sponsored and facilitated by Arts Council Malta, and the group was accompanied by Dr Kurstin Gatt, Senior Lecturer, Middle East and Asian Languages and Cultures at the Faculty of Arts of the University of Malta who coordinated the visit. The performance was supported by the European Union Delegation to Saudi Arabia and the Embassy of Malta in Riyadh. The performers acknowledged the contribution of the EU Delegation, Arabia Pictures, Saudi Music Hub and The Warehouse in making the event possible. They extended special thanks to Malta’s Ambassador to Saudi Arabia, H.E. Roberto Pace; Deputy Head of Mission and Consul, Mr. James Gauci; and Ms. Erica Borg at the EU Delegation for their support.

Maltese singer-songwriter Lyndsay Pace has won the Best Pop Music Award at the LIT Music Awards situated in New York for her latest single, “Beat of Love”, a collaboration with Cool Mike & Jaga. The award marks another significant achievement in Lyndsay’s musical career, further strengthening her presence on the international music scene and highlighting the continued reach of Maltese talent beyond the country’s shores. Released as a collaborative project, “Beat of Love” brings together the artists’ individual musical identities in a pop production driven by rhythm and melody. The recognition at the LIT Music Awards celebrates the track and the creative collaboration behind it. For Lyndsay, the latest accolade adds to a growing list of career milestones and reflects her continued commitment to developing her music and reaching new audiences internationally. With this latest recognition, Lyndsay continues to represent Malta on the international stage marking another proud moment in her journey as an independent artist.

For more than four decades, Nicko McBrain was the man behind the drums of Iron Maiden. Now, with his first autobiography and a new spoken-word tour, the legendary drummer is bringing the stories of his remarkable career to Malta. The second edition of Malta Metal Weekend, taking place from 13 to 15 November 2026, will feature three days of heavy metal, but the festival will also offer something considerably different from the usual concert experience. On Sunday, 15 November, legendary Iron Maiden drummer Nicko McBrain will appear at the CDC Hall, InterContinental Malta in St Julian's, for An Afternoon with Nicko McBrain. The special event forms part of McBrain's 2026 spoken-word tour, launched to coincide with the publication of his first autobiography, Hello Boys and Girls!. For fans of Iron Maiden and heavy metal history, it offers an opportunity to hear one of the genre's most recognisable musicians tell his own story. From Hackney to the world's biggest stages Nico joined Iron Maiden in 1982 and his recording debut with the band came on 1983's Piece of Mind. Born Michael Henry “Nicko” McBrain in Hackney, East London, in 1952, McBrain developed his passion for drums at an early age. His first percussion experiments famously involved his mother's pots and pans, before his father bought him his first drum kit when he was 11. His early musical influences extended well beyond heavy metal. He played in school and wedding bands and developed a strong interest in jazz alongside rock and roll. Before joining Iron Maiden, he worked with acts including Streetwalkers, Pat Travers and Trust, as well as undertaking session work in London's Soho. In 1982, his career changed dramatically when he joined Iron Maiden, replacing drummer Clive Burr. His recording debut with the band came on 1983's Piece of Mind, beginning a relationship that would last more than four decades. McBrain would go on to record 14 Iron Maiden studio albums and numerous live releases, while performing to audiences around the world. During his time with the band, Iron Maiden developed from one of Britain's leading heavy-metal groups into one of the biggest and most enduring bands in the genre. But Nicko was never simply the drummer sitting behind the rest of the band. The man behind the kit Nico McBrain in Costa Rica during the Somewhere Back in Time World Tour, 2008. photo: Adels McBrain's distinctive drumming became an important part of Iron Maiden's sound, combining power and precision with influences from jazz and earlier generations of rock drummers. Yet it was his personality that made him particularly popular with fans. His unmistakable laugh, huge grin, humour and ability to tell a story turned him into one of Iron Maiden's most recognisable characters. He could entertain an audience without ever touching his drum kit. That talent for storytelling is now becoming the centrepiece of the next chapter of his career. Hello Boys and Girls! Scheduled for publication on 22 October 2026, Hello Boys and Girls! is McBrain's first autobiography and will be published by HarperNonFiction in hardback, ebook and audiobook formats. The book looks beyond the familiar Iron Maiden story. McBrain takes readers back to his childhood and early career, his years as a working musician before Maiden and the many musicians he encountered before eventually joining the band. Hello Boys and Girls! is McBrain's first autobiography Naturally, his 42 years with Iron Maiden form a major part of the story, with the book promising memories of recording, touring and the backstage world surrounding one of heavy metal's most successful bands. There is also a more personal side. The autobiography covers the highs and lows of McBrain's life, including his health problems, recovery, faith, classic cars and his life away from Iron Maiden. The timing makes the book particularly significant. McBrain announced his retirement from touring with Iron Maiden in December 2024, bringing an end to an extraordinary period that had begun when he joined the band in 1982. Hello Boys and Girls! therefore provides McBrain with the opportunity to look back on that journey in his own words. It should be noted that the book has not yet been released, so genuine independent reviews of the finished autobiography are not available yet. Current descriptions and coverage are based primarily on advance information from McBrain, Iron Maiden and the publisher. From autobiography to spoken-word show McBrain isn't simply releasing the book and leaving the stories on the printed page. His An Evening with Nicko McBrain tour begins in Frankfurt on 26 October, only days after the book's publication, before travelling through Europe and the United Kingdom. The format is neither a conventional concert nor simply a book-signing session. Instead, it combines storytelling, conversation, humour and audience interaction, with McBrain discussing his childhood, career, Iron Maiden experiences, life on the road and some of the more personal chapters of his life. Some venues have also indicated that the evening will include audience Q&A and material relating to his drumming. For a musician who has spent 42 years communicating with audiences from behind a drum kit, it is an interesting new way of performing. This time, the stories take centre stage. An Afternoon with Nicko McBrain in Malta His An Evening with Nicko McBrain tour begins on 26 October, with a show in Malta on 15th November. Maltese fans will have their opportunity on 15 November, when McBrain arrives at Malta Metal Weekend for An Afternoon with Nicko McBrain. The event starts at 15:00 at CDC Hall, InterContinental Malta, St Julian's. Unlike the festival's concerts, this is a separately ticketed, seated event centred on conversation and storytelling. The timing is particularly appropriate. By the time McBrain reaches Malta, Hello Boys and Girls! will have been available for several weeks, allowing fans to come to the event already familiar with his story — while giving them the chance to hear him expand on it personally. For longtime Iron Maiden followers, this is a chance to hear first-hand memories from a musician who was present for some of the most important chapters in the band's history. For younger metal fans, it is an opportunity to hear directly from someone who spent more than 40 years at the heart of one of heavy metal's defining bands. And for everyone else, there is the simple attraction of spending an afternoon with one of rock's great characters. A different side of Malta Metal Weekend The inclusion of Nicko McBrain gives the 2026 Malta Metal Weekend an additional dimension. The festival will naturally be about live heavy metal, but An Afternoon with Nicko McBrain offers something that a concert cannot: the chance to hear the stories behind the music directly from the musician who lived them. From a young drummer in East London, through the clubs and studios of London's music scene, to the world's biggest stages with Iron Maiden, McBrain has lived a remarkable musical life. Now, with Hello Boys and Girls!, he is putting that life on paper — and with his spoken-word tour, he is taking those stories back to audiences. On 15 November, Malta gets to hear them first-hand. TICKETS & EVENT INFORMATION An Afternoon with Nicko McBrain Date: Sunday, 15 November 2026 Time: 15:00 Venue: CDC Hall, InterContinental Malta, St Julian's Tickets: Tickets for An Afternoon with Nicko McBrain Official event information: Malta Metal Weekend — An Afternoon with Nicko McBrain Malta Metal Weekend 2026 13–15 November 2026Eden Arena, Malta The festival offers individual day tickets as well as a three-day ticket covering the entire festival. Festival tickets: Malta Metal Weekend 2026 — Tickets Festival website: Malta Metal Weekend official website Important: The Nicko McBrain event is separately ticketed from the main Malta Metal Weekend concerts. Fans wishing to attend both should purchase tickets for the festival and the Nicko McBrain event separately.

Drogi - A Music-Theater Performance What If Happiness Could Be Measured? What if happiness was no longer just something you felt, but something that could be measured, monitored and optimised? This is the question at the heart of DROGI, a new original music-theatre production by The Busker and directed by Sean Borg, combining music, theatre, humour and social satire in a provocative exploration of the human pursuit of happiness. Set in a fictional dystopian world experiencing a supposed “Dopamine Drought”, DROGI introduces the Dopa-Meter, a device developed by the fictional corporation B-Corp that claims to measure a person's dopamine levels — and, ultimately, their happiness. But what happens when happiness becomes a number? Through the stories of three individuals, DROGI explores the many “highs” people pursue in everyday life — from relationships, success and validation to attention, consumption, excitement and stimulation. The show asks whether the things we repeatedly chase can become our own forms of “drugs”. The title DROGI is deliberately provocative. However, the production is not about recreational substances, it is about our relationship with pleasure, reward, dependency and the constant search for something that will make us feel good. Featuring music from The Busker's upcoming album Something in My Head, the performance combines a part-autobiographical, part-fictional story with theatrical humour and moments of vulnerability. Ultimately, DROGI asks audiences to consider their own “drogi” — the things they chase, consume or depend upon in the hope of feeling fulfilled — and whether happiness can really be found through the pursuit of the next high. Date: 14th November 2026 Venue: Teatru Salesjan, Sliema Time: Doors Open 19:30 Show Time: 20:30 - 10:30 Tickets are available on https://www.showshappening.com/the-busker/drogi

ATTIVITAJIET F’GIEĦ DUN KARM PSAILA / FESTAGHANA FIL HARIFA Ta’ kull sena fix-xahar t’Ottubru, titfakkar il-memorja tal-Poeta Nazzjonali, Dun Karm Psaila. Dun Karm twieled f’Ħaż-Żebbuġ nhar it-18 ta’ Ottubru fl-1871 u miet nhar it-13 ta’ Ottubru 1961. Festivals Malta, permezz tal-Kumitat Festi Nazzjonali, se tkun qed tfakkar il-Poeta b’ċerimonja ta’ tqegħid ta’ kuruni mal-monument tiegħu nhar it-Tlieta 13 ta’ Ottubru, fl-10 ta’ filgħodu. Għal din iċ-ċerimonja se jieħu sehem il-Ministru għall-Arti, il-Kultura u l-Wirt Nazzjonali Dr Malcolm Paul Agius Galea, flimkien mal-Kunsill Lokali tal-Furjana, rappreżentanti minn Festivals Malta, u l-Akkademja tal-Malti. Apparti din l-attività, nhar il-Ħamis 22 ta’ Ottubru se tittella’ serata kommemorattiva fil-Palazz tal-President, f’San Anton, Ħ’Attard. Matul is-serata se jiġi ppreżentat approfondiment fuq parti mill-Poema Il-Jien u Lil Hinn Minnu. Din is-serata, li l-attendenza tagħha hi strettament bl-invit, se tixxandar LIVE wkoll fuq il-paġna ta’ facebook ta’ Festivals Malta. ______________________________ Festgħana jkompli fil-ħarifa bi tlett ijiem ta’ għana, memorja, riċerka u komunità L-ewwel edizzjoni ta’ Festgħana fil-Ħarifa se ssir bejn is-16 u t-18 t’Ottubru 2026, b’programm mifrux bejn iż-Żejtun, il-Palazz Verdala u l-Furjana. Festgħana qed ikompli lil hinn mill-edizzjoni prinċipali tiegħu ta’ Mejju bit-tnedija tal-ewwel Festgħana fil-Ħarifa, tlett ijiem ta’ attivitajiet li jqiegħdu l-għana Malti fil-qalba tal-memorja, ir-riċerka, il-komunità u t-trażmissjoni bejn il-ġenerazzjonijiet. Il-programm li huwa taħt id-direzzjoni artistika ta’ Prof. Toni Sant, li se jsir bejn is-16 u t-18 t’Ottubru 2026, jgħaqqad mumenti ta’ tifkira, diskussjoni akkademika, għana live u opportunitajiet għal vuċijiet ġodda, filwaqt li jħares lejn l-għana mhux biss bħala wirt tal-passat, iżda bħala tradizzjoni ħajja li tkompli tinbidel, tikber u tiġi mgħoddija. Il-programm jiftaħ nhar il-Ġimgħa 16 t’Ottubru fiż-Żejtun bil-kxif tal-monument ta’ Fredu Abela ż-Żejtuni, f’serata ddedikata lill-ħajja, il-kontribut u r-rabta tiegħu mal-għana Malti u mal-komunità Żejtunija. L-attività se toħloq spazju fejn il-memorja tiegħu tkompli tgħix fil-komunità li magħha kien marbut. L-għada, is-Sibt 17 t’Ottubru, il-Palazz Verdala jilqa’ L-Għana Malti Ħaj Illum – Simpożju Nazzjonali dwar l-Għana Malti. Is-simpożju huwa organizzat mir-Reġjun Punent, b’kollaborazzjoni ma’ Festivals Malta, id-Direttorat tal-Kultura u l-Fondazzjoni M3P. Matul ġurnata sħiħa, riċerkaturi, akkademiċi, prattikanti u membri tal-komunità se jesploraw temi bħall-preservazzjoni u l-arkivjar, il-kuntesti mużikali tal-għana, l-oralità u l-improvizzazzjoni, it-trażmissjoni tal-għarfien u r-rabta tal-għana mal-Wirt Kulturali Intanġibbli tal-UNESCO. Il-programm tas-simpożju jinkludi erba’ panels tematiċi u diskussjoni kollettiva dwar il-futur tal-għana Malti. Il-programm tas-Sibt jintemm b’sessjoni ta’ għana fil-ġnien tal-Palazz Verdala minn Ġużeppi Spagnol u d-daqqaqa tiegħu, flimkien ma’ riċeviment. Festgħana fil-Ħarifa jintemm nhar il-Ħadd 18 t’Ottubru waqt Ġenna ta’ Ġonna fil-Furjana. Bejn l-10:30am u l-11:30am, Għannejja Ġodda jerġa’ jagħti spazju lil vuċijiet emerġenti biex jipprattikaw u jikbru fi ħdan it-tradizzjoni. Minnufih wara, bejn il-11:30am u n-12:30pm, il-programm ikompli b’Għana Spirtu Pront, fejn il-kelma, il-mużika u l-improvizzazzjoni jingħaqdu f’waħda mill-aktar forom ħajjin tal-għana Malti. L-attivitajiet tal-Ħadd qed isiru b’kollaborazzjoni mal-Kunsill Lokali tal-Furjana, li qed jerġa’ jilqa’ lil Festgħana bħala parti minn Ġenna ta’ Ġonna. Permezz ta’ din l-edizzjoni ġdida, Festgħana qed ikompli jsaħħaħ il-preżenza tal-għana matul is-sena kollha, filwaqt li joħloq spazji fejn ir-riċerka, il-prattika, il-memorja u l-komunità jistgħu jiltaqgħu. Aktar informazzjoni dwar il-programm tinsab fuq www.festivals.mt/festghana.

On October 31st, as autumn deepens and attention turns towards remembrance, ancestry and the mysteries of the season, a new gathering will take root in Malta. For one day, music, ritual, creativity and community will come together in a celebration inspired by the land beneath our feet, the spirit that connects us and the ancestors whose stories continue to echo through the generations. This is Malta Pagana, a new Pagan festival launching in 2026 with the aim of bringing together Malta’s Pagan community while opening its doors to anyone curious to discover more about Pagan traditions, spirituality, nature and our relationship with the ancient past. The inaugural event, The Ritual – Land, Spirit, Ancestors, will take place on 31 October 2026 at Hideout, Pembroke. Conceived as a one-day gathering for people from different paths and backgrounds, the festival will provide a space where ancient traditions and contemporary Pagan practice can meet through ritual, music, creativity, learning and community. At the heart of Malta Pagana lies a desire to strengthen connections within Malta’s Pagan community while creating an accessible and welcoming environment for those who may simply be curious about Paganism and its relationship with nature, seasonal cycles, ancestry and spirituality. Rather than focusing on any single tradition, the festival seeks to celebrate the diversity of paths found within contemporary Paganism. Throughout the day, visitors will be able to participate in a varied programme of experiences and activities. These will include live drumming, a workshop and book launch, stalls, a cacao ceremony and DJ sets. Seasonal activities will also form part of the programme, including pumpkin carving and a costume competition. One of the central moments of the gathering will be a ritual honouring the ancestors, reflecting the significance of October 31st within many Pagan traditions. The ritual will offer participants an opportunity to remember those who came before them and to reflect upon the enduring relationship between land, spirit, ancestry and community. Malta Pagana has also been conceived as an inclusive event suitable for the whole family. The venue is pet-friendly, allowing visitors to enjoy the day together with their four-legged companions. Whether already following a Pagan spiritual path, interested in discovering more about Pagan traditions, or simply looking for a different and meaningful way to experience 31 October, visitors are invited to become part of the gathering. The Ritual – Land, Spirit, Ancestors marks the beginning of the Malta Pagana journey, a gathering where old traditions can find new expression, where knowledge can be shared, and where people can come together to celebrate nature, spirituality and remembrance. For one day, Malta Pagana invites you to leave the ordinary behind, step into the gathering and experience 31 October from a different perspective. The Ritual – Land, Spirit, Ancestors takes place on Saturday, 31 October 2026, at Hideout, Pembroke. Further announcements, programme details and updates will be published on the Malta Pagana event page: https://www.facebook.com/events/28192896640410139 Artwork: Mark Casha.

AMBUSH METAL FEST 2026 — A NIGHT OF PURE DEATH METAL DEVASTATION Saturday 17 October 2026 | The Garage, Żebbuġ, Malta Malta Metal Alliance presents AMBUSH METAL FEST 2026, returning this October for an uncompromising night dedicated to the sheer power, aggression and underground spirit of Death Metal. Taking place on Saturday 17 October 2026 at The Garage in Żebbuġ, AMBUSH METAL FEST brings together established veterans of the extreme metal underground alongside formidable contemporary forces for an evening built around crushing riffs, tornado drumming, blistering solos and relentless live performances. At the forefront of this year's edition are ABYZZ, the Thüringen Death Metal veterans making a significant return to Malta 24 years after their previous appearance on the island. Founded in 1994 and forged in the underground, ABYZZ bring decades of experience, and an old-school approach rooted firmly in the uncompromising foundations of Death Metal. Their appearance at AMBUSH METAL FEST represents a rare opportunity for the Maltese metal community to witness the band back on a local stage more than two decades later. Sharing the bill are Malta's own BEHEADED, one of the country's longest standing and internationally recognised extreme metal exports. With a career spanning more than three decades, extensive international touring and a reputation forged through ferocious live performances, BEHEADED remain one of the defining names of Maltese Death Metal. RATS OF GOMORRAH bring another dimension of extremity to the festival, combining furious Death Metal aggression with the raw intensity of the underground. Their presence adds another heavy-hitting force to a bill deliberately constructed around intensity rather than compromise. Joining them are HAINE, winners of Wacken Metal Battle Malta 2026. Their victory earned them the honour of representing Malta at the international Wacken Metal Battle at Wacken Open Air, placing the band firmly among the current generation pushing Malta's heavy music scene forward. Their appearance at AMBUSH METAL FEST brings that momentum back onto home soil and adds one of Malta's rising forces to an already devastating bill. The assault continues with TERRORAGE, delivering another dose of direct and aggressive extreme metal, while TERRIBLE SICKNESS bring their own relentless approach to complete an evening designed from beginning to end around sheer sonic intensity. MORE THAN ANOTHER METAL SHOW AMBUSH METAL FEST was created as a celebration of Death Metal in all its uncompromising forms. There are no distractions from the central purpose of the event: powerful bands, heavy live production and a room filled with people who understand the culture, attitude and community surrounding extreme music. From old-school brutality to the contemporary edges of the genre, AMBUSH brings different generations of the underground onto the same stage while retaining the authenticity that has kept Death Metal alive and evolving for decades. The festival also forms part of the wider mission behind Malta Metal Alliance — strengthening Malta's underground scene, creating opportunities for Maltese artists to share stages with established international acts and continuing to connect the local metal community with the wider European underground. And the response has already been strong. Both the Early Bird allocation and the subsequent DEATH ticket allocation are SOLD OUT, with the festival now moving into its Standard Ticket phase. AMBUSH METAL FEST 2026 Saturday 17 October 2026 The Garage — Żebbuġ, Malta Doors Open: 5:00 PM LINE-UP ABYZZ — Germany BEHEADED — Malta RATS OF GOMORRAH — Germany HAINE — Malta — Wacken Metal Battle Malta 2026 Winners TERRORAGE — Italy TERRIBLE SICKNESS — Germany TICKETS EARLY BIRD — €15 — SOLD OUT DEATH TICKET — €20 — SOLD OUT STANDARD TICKET — €25 (including booking fee) Tickets are available from Ticketline Malta. Prepare yourself for an evening of crushing riffs, relentless rhythms, blast beats and pure sonic devastation, delivered in the atmosphere in which Death Metal belongs — loud, close, raw and underground. This is not background music. This is not mainstream metal. This is AMBUSH METAL FEST 2026. AMBUSH METAL FEST 2026 is part of MALTA METAL ALLIANCE 2026.

Following the success of its inaugural edition in 2025, Malta Metal Weekend returns to the Eden Arena in St Julian’s from 13 to 15 November 2026, bringing three days of international and local metal and hard rock to Malta. The second edition expands the festival to thirteen bands across three days, covering everything from extreme and traditional metal to classic and melodic hard rock. The opening two days will feature Kreator, Paradise Lost, Omnium Gatherum, Angelcrypt, Doro, Dirkschneider, Candlemass, Anvil and Anchorite, before the festival reaches its final day on Sunday, 15 November. That closing bill takes a somewhat different musical direction, bringing together four generations and styles of hard rock and metal with Europe, Adrian Vandenberg, Gus G. featuring Ronnie Romero and Malta's Atomic Flame. Among those artists, Adrian Vandenberg and Europe occupy a particularly important place in the history of European hard rock. Both came to international prominence during the great hard-rock explosion of the 1980s, yet neither has allowed that period to define their entire careers. Adrian Vandenberg – Revisiting the Whitesnake Years Vandenberg with Mats Leven on vocals live 2026 Few guitarists arriving in Malta this November have a history quite as closely connected to one of the defining bands of 1980s hard rock as Adrian Vandenberg. The Dutch guitarist first established himself with his own band, Vandenberg, whose self-titled debut was recorded at Jimmy Page's Sol Studios. The album introduced a guitarist capable of combining melodic songwriting with powerful hard-rock playing, while the band's subsequent success in Europe, America and Japan established Vandenberg as a respected name in his own right. Their breakthrough came with “Burning Heart”, which helped lead to tours and appearances alongside major names including KISS and Ozzy Osbourne. Vandenberg's career changed direction when David Coverdale's Whitesnake came calling. Interestingly, Vandenberg had initially turned down an offer to join the band because his own group was enjoying considerable success. Eventually, however, the relationship with Coverdale developed into one of the most important musical partnerships of his career. His association with Whitesnake placed him at the centre of one of the biggest hard-rock success stories of the decade. He contributed to the band's songwriting and performed the celebrated guitar solo on the American No. 1 version of “Here I Go Again”, while remaining associated with Whitesnake until 1998. His Whitesnake story also contains one of rock's more unusual twists. Vandenberg was heavily involved in the songwriting for Slip of the Tongue, but a wrist injury prevented him from recording the guitar parts. Steve Vai subsequently performed the guitar work on much of the album. Vandenberg's role, therefore, was considerably more than that of a hired guitarist: his contribution to the Whitesnake story included songwriting and a close creative relationship with Coverdale. The partnership was also heard in its most stripped-down form on Starkers in Tokyo, the intimate acoustic recording featuring Coverdale and Vandenberg. It offered a very different perspective on their musical relationship, away from the huge productions and guitar-driven spectacle associated with Whitesnake. Vandenberg subsequently returned to his own band, releasing new material and continuing to tour. The modern Vandenberg line-up features vocalist Mats Levén, whose career has included work with Candlemass and Yngwie Malmsteen, alongside Sem Christoffel, Joey de Boer and Len van de Laak. The current band combines the guitarist's classic songwriting approach with a powerful contemporary rhythm section. For the Malta Metal Weekend performance, Vandenberg will perform under the “My Whitesnake Years” banner. The concept was originally connected with the 35th anniversary of Whitesnake's appearance at Donington and, following its success and demand from audiences, has been extended into 2026. Recent performances have received strong reactions, with American journalist Robert Cavuoto describing the show as a masterclass in hard-rock showmanship and praising the band's ability to recreate the atmosphere of Whitesnake's prime. For Maltese audiences, the attraction is obvious: songs that formed part of one of the most commercially successful periods in hard-rock history will be performed by one of the musicians who actually helped create them. Europe – Forty Years of The Final Countdown Europe's Joey Tempest & John Norum live Sthlm Fields summer 2026. Photo: Cornelius Poppe/NTB/TT If Vandenberg represents one side of the great European hard-rock story, Europe represent another. Formed in Upplands Väsby, Sweden, the band originally developed under the name Force. Vocalist Joey Tempest and guitarist John Norum shared an early passion for British rock bands including Thin Lizzy, UFO, Led Zeppelin and Deep Purple. After winning a Swedish rock competition, the group secured a recording contract and released its self-titled debut in 1983. The early Europe was considerably heavier than the image many casual listeners may associate with the band today. Their first albums were rooted firmly in guitar-driven hard rock, with Norum's playing providing a particularly strong metallic edge. Everything changed with the arrival of The Final Countdown in 1986. The title track, built around Joey Tempest's instantly recognisable keyboard introduction, transformed Europe into an international phenomenon. The album also produced enduring songs such as “Rock the Night,” “Carrie” and “Cherokee”, while “The Final Countdown” itself became one of the most recognisable rock songs ever recorded. Ironically, guitarist John Norum was unhappy with the increasingly commercial and keyboard-oriented direction of the band and left around the time of the album's breakthrough. He was replaced by Kee Marcello, who played on the successful Out of This World and Prisoners in Paradise albums. Europe eventually went on hiatus in the early 1990s, before reuniting at the end of the decade. What followed was not simply a return to the past. With Start from the Dark in 2004, Europe deliberately reinvented itself, adopting a heavier and more contemporary sound. Subsequent albums including Secret Society, Last Look at Eden, Bag of Bones, War of Kings and Walk the Earth demonstrated a band increasingly comfortable drawing on its original influences rather than attempting to recreate the glossy sound of the 1980s. The later Europe is often much closer to Deep Purple, Led Zeppelin, UFO and Black Sabbath than the band's reputation as the group behind “The Final Countdown” might suggest. War of Kings, in particular, was praised for its classic heavy-rock character and John Norum's guitar work. And Norum remains an important part of the band's appeal. His blues-influenced, melodic guitar playing has continued to give Europe a harder edge, while Joey Tempest remains an energetic frontman whose voice has continued to receive positive reviews from recent live performances. The current line-up brings together Joey Tempest, John Norum, John Levén, Mic Michaeli and Ian Haugland – musicians whose history together stretches back decades. Europe's appearance in Malta comes at a particularly appropriate moment. 2026 marks 40 years since the release of The Final Countdown, and the band are celebrating the anniversary with their The Final Countdown 40th Anniversary Tour. The Malta Metal Weekend performance will therefore be part of a celebration of an album and song that have become deeply embedded in rock culture. Yet Europe are not simply looking backwards. Their first new studio album in nine years, Come This Madness, is due in 2026, giving the band a new chapter to add to an already remarkable career. Recent festival appearances have also demonstrated that Europe remain a formidable live act. Their 2025 performance at Brazil's Monsters of Rock festival was praised for the strength of Tempest's vocals, Norum's guitar work and the band's overall energy. Reviews also stressed that Europe are considerably more than a nostalgia act built around one famous song. That is perhaps the best way to approach their Malta appearance. Yes, the audience will almost certainly be waiting for that keyboard introduction. Yes, “The Final Countdown,” “Rock the Night,” “Carrie,” “Cherokee” and other classics remain essential parts of Europe's live identity. But behind those songs is a band with more than four decades of history, a substantial catalogue and a second career that has seen it become heavier, more mature and closer to its original hard-rock influences. A Final Day Built Around Rock History With Adrian Vandenberg bringing his My Whitesnake Years performance and Europe celebrating four decades of The Final Countdown, the final day of Malta Metal Weekend provides a meeting point between two hugely influential strands of European hard rock. Both artists emerged during the golden age of the genre. Both created songs that crossed over far beyond the traditional rock audience. And both have continued to perform and evolve long after the era that first made their names. For anyone who grew up with the sound of 1980s hard rock, Sunday's programme offers a particularly strong dose of nostalgia. For younger metal and rock fans, however, it also provides an opportunity to discover that the stories of these musicians extend considerably beyond the songs that first made them famous. With Atomic Flame opening the final-day proceedings, followed by Gus G. featuring Ronnie Romero, Adrian Vandenberg and Europe, the second Malta Metal Weekend will conclude with a celebration of classic and contemporary hard rock that should provide a fitting finale to three days of metal. Tickets for Malta Metal Weekend 2026 are available as single-day tickets or a three-day block ticket. Tickets can be purchased here: Malta Metal Weekend 2026 – Official Ticket Page Direct ticket outlet: EventWorks – Malta Metal Weekend 2026 Tickets

Devil’s Breath Featured on Latest Sombre Soniks Dark Ambient Release The latest instalment in the acclaimed Sombre Soniks Dark Ambient Series, Volume 32, has now been released, featuring Devil’s Breath with the track The Missing Children In The Ħal Saflieni Hypogeum Of Raħal Ġdid. The track appears as Track 13 on the new release, which brings together artists exploring the darker and more atmospheric side of experimental music. The series’ theme for this edition invited artists to take inspiration from a “sakred space” – a place of spiritual power, whether a man-made structure or a natural geological site. For Devil’s Breath, the inspiration came from their homeland of Malta, and one of the island’s most mysterious and enduring locations: the Ħal Saflieni Hypogeum. The Missing Children In The Ħal Saflieni Hypogeum Of Raħal Ġdid draws on a local folklore legend which is said to have emerged around the time of the Second World War. According to the tale, a group of children and their teacher disappeared deep within the underground tunnels of the Hypogeum. The story further claims that, for weeks afterwards, screams and wailing could allegedly be heard coming from beneath the ground, while search parties reportedly found no trace of the missing children or their teacher. Whether regarded as folklore, urban legend or simply one of Malta’s many mysterious stories, the tale provides a fitting foundation for Devil’s Breath’s dark and unsettling composition. Through its combination of Dark Ambient, Drone Ambient, Tribal Ambient and Ambient Noise, the track creates an ominous sonic atmosphere inspired by the underground world of the Hypogeum and the legend surrounding the missing children. The new Sombre Soniks release is now available through Bandcamp. Listen to “The Missing Children In The Ħal Saflieni Hypogeum Of Raħal Ġdid”: Sombre Soniks – Bandcamp

From Local Pioneers to International Recognition The current Beheaded line-up reflects the band's multinational evolution. David Cachia remains the essential link to the early years, while Frank Calleja continues to provide the vocals that have defined the band's modern era. Simone Brigo and Fabio Marasco handle the guitars, while Davide Billia remains behind the drums. This is a very different line-up from the one that recorded Souldead, but the continuity of the band's philosophy remains unmistakable. And perhaps that is what matters most when a band reaches thirty-five years. The names change. The technology changes. The record labels change. The musical fashions change. The audiences change. But the reason for making the music must remain. Beheaded live in Europe Beheaded have never stopped being an extreme metal band. They have simply become a much more experienced one. Their catalogue tells the story of that experience. Perpetual Mockery captured a young band discovering its potential. Recounts of Disembodiment demonstrated an increasing commitment to brutality and technicality. Ominous Bloodline established the band as an international force. Never to Dawn proved that they could survive an extended period of uncertainty and return. Beast Incarnate showed continued development, while Only Death Can Save You expanded their musical vocabulary. Finally, Għadam brought all those years of experience together with a new cultural dimension. Seven full-length albums across thirty-five years may not seem like an enormous discography, but the gaps between the records tell their own story. Beheaded have never been a band interested in releasing music merely to maintain a schedule. Each album arrived after a period of change, development or struggle. That makes the catalogue feel less like a collection of routine releases and more like a series of documents marking different stages of the band's existence. The people who created those stages deserve equal recognition. David Bugeja and Chris Brincat belong to the foundational history of Beheaded. They were there when the band was formed in 1991, when the idea of an internationally recognised Maltese death metal band was still little more than an ambition. Their contributions helped establish the foundation upon which everything that followed would be built. Omar Grech also occupies an important place in that history. His arrival during the 1990s coincided with a crucial stage in Beheaded's development, and his guitar work became part of the band's transition towards the increasingly technical and brutal sound that would define the early 2000s. David Cachia David Cachia, however, remains the central thread. Few musicians can claim such continuity within an extreme metal band. From the early years through every major stylistic and personnel transformation, Cachia remained part of Beheaded. His career with the group has now crossed more than three decades, connecting the cassette-era underground with the digital world of the present. Frank Calleja represents another remarkable period of continuity. His tenure has now encompassed more than fifteen years, taking in several major releases and the band's transformation into its current form. His voice has become an integral part of the band's identity. The contributions of the musicians who joined during the later years are equally important. Davide Billia brought the technical precision of the Italian extreme metal scene to the drum position, while Simone Brigo and Fabio Marasco have helped maintain the demanding guitar work that remains central to Beheaded's music. Together they demonstrate that the band's identity is not dependent upon preserving a particular historical line-up. It is built upon a shared musical philosophy. That philosophy has always involved intensity, technical ability and a refusal to compromise. But it has also involved evolution. This is perhaps the quality that separates Beheaded from many bands that emerged from the same era. The group has never remained frozen in the sound of its youth. They have absorbed new influences, experimented with different approaches and allowed their music to become more atmospheric and dynamic without abandoning the brutality that defines them. Their development is therefore not a rejection of their past. It is the natural consequence of thirty-five years of experience. Recording Of Ghadam 2025 There is another reason the 2026 anniversary is especially meaningful. Beheaded and Forsaken, two of Malta's most important metal institutions, were both formed in 1991. They travelled radically different musical paths, with Forsaken becoming synonymous with epic doom metal while Beheaded forged a reputation in brutal death metal, yet both achieved something remarkably similar. They demonstrated that Malta could produce metal of genuine international significance. Forsaken took the grandeur and darkness of doom and transformed it into a distinctive Maltese interpretation of the genre. Beheaded took the brutality and technicality of death metal and pushed it into increasingly sophisticated territory. Both crossed the same geographical barrier. Both had to build international reputations from an island with a very small domestic market. Both survived for three and a half decades. Their simultaneous 35th anniversaries therefore provide an opportunity to look at an important generation in Maltese music. The early 1990s produced musicians who refused to accept that Malta's size should determine the scale of their ambitions. Beheaded were among the most extreme examples of that attitude. They did not simply want to have a successful Maltese band. They wanted to play death metal at an international level. They succeeded. Today, Beheaded's name is recognised by death metal listeners who may never have visited Malta and may know little about the island beyond its location in the Mediterranean. Their records have been released through international labels, reviewed by specialist publications and heard on stages far beyond the country of their birth. Yet perhaps their greatest achievement is not that they managed to leave Malta. It is that, after all those years, they were able to bring Malta with them. Għadam proves that. It is difficult to imagine a more appropriate artistic statement for a band celebrating thirty-five years. The album takes the language of home, the literature of home and the darker imagination of home and places them inside the international language of death metal. The young Beheaded needed the world to hear them. The mature Beheaded are now giving the world a piece of where they came from. That distinction captures their journey perfectly. In 1991, Beheaded were a young Maltese band exploring the possibilities of extreme music in an underground scene that was still developing. In 1995, Souldead began sending their name beyond the island. Perpetual Mockery transformed that promise into an international reputation. Recounts of Disembodiment and Ominous Bloodline established them as serious players within brutal and technical death metal. Never to Dawn demonstrated their resilience after years of uncertainty. Beast Incarnate and Only Death Can Save You showed that they were still capable of developing. And Għadam proved that, even after more than three decades, they could still surprise their audience. Thirty-five years is an extraordinary achievement. But Beheaded's anniversary is not simply about survival. It is about relevance. A band can remain active for thirty-five years without remaining important. Beheaded have done something considerably more difficult: they have remained part of the conversation. Their name continues to carry weight within international death metal. Their music continues to be discovered by new listeners. Their albums continue to receive critical attention. And their latest work has opened an entirely new chapter in the band's relationship with its homeland. Beheaded live at Dortmund Deathfest 2026 That is why Beheaded deserve to be celebrated in 2026 not merely as veterans, but as pioneers. They helped put Malta on the death metal map at a time when almost nobody expected the island to have a place there. They proved that a band's geographical origin did not have to dictate its musical ambitions. They survived the collapse of the traditional underground and adapted to a radically different music industry. They weathered line-up changes and long periods of uncertainty. They continued to tour. They continued to record. And after thirty-five years, they are still capable of taking risks. There is something fitting about the band's name in this context. Beheaded began their career in an era when the international metal world might easily have dismissed a band from Malta as an oddity. Thirty-five years later, there is nothing curious or accidental about their reputation. They earned it one recording, one performance and one difficult step at a time. Their story is not simply one of brutality. It is a story of determination. It is a story of musicians who refused to allow geography to define their possibilities. It is a story of a local underground that produced artists capable of competing on an international stage. And it is a story that, remarkably, has not yet reached its conclusion. When the history of Maltese heavy metal is eventually written in full, Beheaded will occupy one of its most important chapters. They will stand alongside Forsaken and other pioneers as evidence of what the Maltese underground was capable of producing when musicians were willing to dream beyond the limitations of the island. But the most fitting way to celebrate their 35th anniversary is not to regard Beheaded as a relic of the past. They are still here. Frank Calleja David Cachia remains the bridge between the beginning and the present. Frank Calleja continues to give the band its modern voice. The current musicians carry forward the technical and brutal foundation established by generations before them. And Għadam has demonstrated that the band still possesses the courage to explore territory that even its own history could not have predicted. Thirty-five years after a group of musicians in Fgura decided to form a death metal band, Beheaded have travelled an extraordinary distance. From cassette tapes to international streaming platforms. From Malta's early underground to European and international stages. From Souldead to Għadam. From a band trying to prove that Malta could produce death metal to a band showing the world what Maltese death metal can actually sound like. That is the real achievement. And perhaps the most remarkable part of all is that, after thirty-five years, Beheaded do not sound like a band preparing to close the book on its history. They sound like a band still writing it. 1991–2026. Thirty-five years of Beheaded. Thirty-five years of brutality, evolution, resilience and Maltese metal history. The blade remains sharp.

New Radio Show 'Melodija60' to Launch on Maltin Biss, Celebrating the Full Spectrum of Contemporary Maltese Music Veteran music promoters Noel Mifsud and Michael Bugeja have announced the upcoming launch of Melodija60, a weekly radio show dedicated entirely to contemporary music by Maltese bands and artists. Supported by the Arts Council Malta funding scheme for music on private radio stations, the show will air on the DAB+ digital radio station Maltin Biss as from 6th October 2026, with repeats later in the week. The concept behind Melodija60 is simple yet impactful: one hour, once a week, dedicated exclusively to the diverse sounds of the Maltese islands. The show’s name reflects its core mission and structure—drawing from Melodija, the online music media platform that has documented and supported the local music scene for years, and 60, representing the sixty-minute duration of each episode. Melodija60 will focus strictly on fresh, contemporary material released in recent years. In a strong commitment to local identity, at least 50% of the music broadcast will be in the Maltese language, spotlighting the exciting and profound work currently driving the local scene. Unlike mainstream commercial radio playlists that often focus strictly on mass-market hits, Melodija60 aims to bridge the gap by exploring all genres. The weekly playlist will feature everything from electronic producers delivering international-level tracks to jazz groups, metal and rock bands, hip-hop artists, folk musicians, and singer-songwriters. "The music being created locally today is extraordinary in its richness, but commercial radio naturally has a blind spot for anything that doesn't fit a mainstream playlist," said co-host Michael Bugeja. Noel Mifsud added that "Melodija60 is designed to step into that space, treating local music with the undivided attention, respect, and visibility it truly deserves." Co-hosts Michael Bugeja and Noel Mifsud bring over 30 years of collective experience in promoting, supporting and participating in the Maltese music scene. Having witnessed local artists grow from small gigs to international recognition, the duo enjoys deep trust within the musical community and boasts extensive libraries of local music across all genres. With the backing of Arts Council Malta and the broadcasting platform provided by Maltin Biss, the ultimate goal is to establish Melodija60 as a permanent, professional staple of the Maltese airwaves—a go-to destination for listeners wanting to stay updated and a trusted platform for local creators. Follow Maltin Biss and Melodija60 at facebook.com/maltinbiss.mt https://maltinbiss.mt/

The Maltese music scene continues to make its presence felt both locally and internationally, with the seventh edition of Mużika Mużika now entering its next stage while Maltese singer-songwriter Lyndsay Pace has added another international accolade to her growing list of achievements. The Maltese music scene continues to make its presence felt both locally and internationally, with the seventh edition of Mużika Mużika now entering its next stage while Maltese singer-songwriter Lyndsay Pace has added another international accolade to her growing list of achievements. Applications for the seventh edition of Mużika Mużika, organised by Festivals Malta, officially closed on Saturday, 26 September. The festival, which has established itself as one of Malta’s leading platforms for Maltese music, will return from 11 to 13 March 2027. Once again, Festivals Malta received a substantial number of applications from singers, authors and composers, with the submitted songs representing a variety of musical genres. The continued interest in the festival reflects its position as an important showcase for Maltese songwriting and performance, attracting both established and emerging artists. The next stage of the process will see the Festivals Malta team, together with the Mużika Mużika Board, working alongside an expert jury to evaluate all the submitted material. From these applications, 30 songs will be selected to proceed to the next phase. The selected entries will then be performed live during a further audition session, accompanied by a backing track. A different jury, separate from the one involved in the initial selection, will evaluate these performances before choosing the 16 songs that will become the finalists of Mużika Mużika 2027. The finalists are expected to be announced following the live auditions taking place in October, with Festivals Malta confirming that the names will be revealed through a separate announcement. The organisers have thanked all the singers, composers and authors who submitted their work and wished them success in the competition. ____________________ While preparations for next year’s Mużika Mużika continue, Maltese music is also receiving recognition beyond the island, with Lyndsay Pace recently achieving another international success. Pace was awarded Best Original Song at the Sofia Grand Prix Festival, held in Sofia, Bulgaria, where she represented Malta with her song “Fireproof.” The singer-songwriter took to the stage with the song, delivering a performance that showcased her talent and dedication to her music. “Fireproof” will already be familiar to Maltese audiences, having been Pace’s entry in the Malta Eurovision Song Contest in 2024. The latest award adds another international achievement to what has been an eventful year for Pace, further extending her musical activities beyond Malta. Representing Malta at an international festival in Bulgaria also provided an opportunity for her music to reach an audience outside the local scene. “Fireproof” centres on themes of strength, resilience and the courage to continue believing in oneself, a message that Pace carried with her onto the Sofia stage. For Pace, the recognition represents another chapter in her artistic journey as she continues to work on new projects while taking her music to international audiences. ____________________ With Mużika Mużika preparing to introduce another selection of Maltese songs and artists to the local audience in 2027, and Maltese performers such as Lyndsay Pace continuing to gain recognition overseas, the coming months promise to provide further opportunities for Maltese music both at home and beyond the island. Mużika Mużika 2027 will take place between 11 and 13 March 2027. More information about the festival is available through www.muzikamuzika.mt.

The second edition of Malta Metal Weekend will bring three days of metal to Malta from 13 to 15 November 2026, returning after its 2025 debut. The festival once again takes over the Eden Arena area in St Julian’s, bringing together international names from different corners of heavy music alongside Maltese representation. The organisers describe the 2026 edition as three nights spanning extreme, classic and melodic metal, with thirteen bands across the weekend. The first two acts of the festival's final day, Sunday 15 November, provide an interesting meeting of generations and styles. The day begins with Maltese heavy-metal outfit Atomic Flame, followed by the international partnership of Greek guitarist Gus G. and Chilean vocalist Ronnie Romero. Later in the evening, the programme continues with Adrian Vandenberg and Europe, making Sunday a particularly strong day for fans of melodic, traditional and classic hard rock and heavy metal. Atomic Flame: Malta's heavy-metal tradition continues Atomic Flame live at The Farsons Beer Festival July '26 Opening the final day are Atomic Flame, a relatively new band whose history is nevertheless deeply connected to Malta's older rock and metal scene. The band traces its beginnings to 2021, when drummer Lawrence Baldacchino started working with guitarist Campos Gellel. Following the dissolution of Noogie's Crew, vocalist and guitarist Nigel "Noogie" Buttigieg became involved, with bassist Charles Buttigieg completing the developing lineup. Atomic Flame emerged under their present name in 2022 following Gellel's departure. Their current lineup consists of Baldacchino on drums, Nigel Buttigieg on vocals and guitar, Charles Buttigieg on bass, and James Galea on lead guitar. That history is important because Atomic Flame are not a band of musicians starting from scratch. Their members have accumulated considerable experience within Malta's rock and metal community. Baldacchino has been associated with bands including Fire and 12th Ode, while Nigel and Charles Buttigieg have also been involved in previous projects. Charles, in particular, connects Atomic Flame with an earlier generation of Maltese rock and metal. The band's first live appearance came at The Garage in Żebbuġ in January 2023, followed by appearances alongside visiting international acts. They quickly established themselves as a live heavy-metal act rather than merely a studio project. Their recorded catalogue initially consisted of the singles "Innocence Becomes Prey" and "The Hunter", released in 2023. These tracks introduced a band firmly rooted in traditional heavy metal, with prominent guitars, driving rhythms and an interest in storytelling. That approach eventually produced the band's debut full-length, Heavenly Punishment, released in September 2025. The album contains ten tracks and features the current lineup, with lyrics credited to Charles Buttigieg and artwork by Lawrence Baldacchino. There is no need to go too deeply into the individual songs to understand the band's identity. Heavenly Punishment revolves around dark and dramatic stories, moving through themes of war, evil, supernatural figures, violence, temptation and destruction. Songs such as "Evil Kills", "A Daughter for a Plague" and "Eternal Youth" demonstrate the band's preference for creating narratives rather than concentrating solely on personal themes. It is worth pointing out, from a critical perspective, that Heavenly Punishment has not yet generated a large body of independent international reviews. Metal Archives currently lists no reviews for the album. Rather than suggesting a critical consensus that does not exist, the more accurate assessment is that Atomic Flame have been steadily building their reputation through their live work, original material and involvement in the Maltese metal scene. That progress has continued into 2026. Atomic Flame were among the competitors in this year's Wacken Metal Battle Malta, placing them within a national competition designed to identify Maltese metal talent capable of reaching an international stage. Their appearance at Malta Metal Weekend therefore represents another important step in that development. Opening the final day puts a Maltese band with a distinctly traditional heavy-metal identity in front of an audience that will subsequently hear some of the most recognised names in classic and melodic metal. For Atomic Flame, it is an opportunity to demonstrate that Malta's metal scene is not merely present on the bill—it can stand alongside the international acts. Gus G. featuring Ronnie Romero: guitar and voice from two sides of heavy metal Gus G and Ronnie Romero autumn tour announcement promo photo If Atomic Flame represent the contemporary Maltese scene, Gus G. featuring Ronnie Romero bring together two musicians whose careers have taken them onto some of the biggest stages in international hard rock and metal. Gus G., born Konstantinos Karamitroudis in Thessaloniki, Greece, is best known as the guitarist and founder of Firewind, but his career extends considerably beyond that band. His international breakthrough came when he became Ozzy Osbourne's guitarist, joining the legendary singer's band in 2009. Gus played on Ozzy's 2010 album Scream and toured with him for several years before leaving the band in 2017. In doing so, he joined a particularly illustrious list of guitarists who had occupied that position, following names such as Randy Rhoads, Jake E. Lee and Zakk Wylde. Gus's career was already well established before his time with Ozzy. Firewind had become one of Europe's recognised melodic and power-metal bands, while he had also been involved with projects including Nightrage, Mystic Prophecy and Dream Evil. His work across these bands helped establish him as one of the prominent guitarists to emerge from the Greek metal scene. Following his years with Ozzy, Gus continued with Firewind while expanding his solo career. His solo releases have given him the opportunity to explore different sides of his playing, ranging from melodic heavy metal and hard rock to the entirely instrumental Quantum Leap. His latest solo release is Steel Burner, issued in April 2026. The album is particularly relevant to his Malta Metal Weekend appearance because it features Ronnie Romero on two tracks, bringing together the two musicians who will appear on stage in Malta. The album also features an impressive selection of guest performers, including Doro Pesch, Matt Barlow and Dino Jelusić, alongside other established musicians. Rather than being simply a showcase for Gus's guitar playing, Steel Burner uses its guest vocalists to explore different shades of heavy metal and hard rock. The album has received generally favourable attention from specialist publications, with reviewers particularly noting the quality and variety of the guest performances. There is also particular interest in the two songs featuring Romero, demonstrating the musical compatibility between the guitarist and vocalist. For Romero, the collaboration represents another chapter in a career that has seen him become one of the most recognisable voices in contemporary classic hard rock and heavy metal. Originally from Chile, Romero first gained international recognition through Lords of Black, before his profile increased considerably when Ritchie Blackmore selected him as the vocalist for Rainbow. He subsequently became involved with projects including Michael Schenker Group, The Ferrymen, Sunstorm and Elegant Weapons, while also establishing himself as a solo artist. His solo catalogue includes Too Many Lies, Too Many Masters from 2023 and Backbone from 2025. The latter has been well received by reviewers for its strong connection to the classic hard-rock tradition and Romero's powerful vocal performance. The relationship between Gus G. and Romero, however, goes beyond their appearance together in Malta. Gus had already contributed guitar to Romero's Raised on Heavy Radio, while the two later recorded the original song "My Premonition". Their collaboration subsequently developed into the Convergence live project, which toured Europe and has continued into 2026. This makes their appearance at Malta Metal Weekend more than a guitarist bringing along a guest singer. Gus G. and Ronnie Romero have already established a musical partnership, combining Gus's guitar-driven approach with Romero's powerful voice and shared appreciation of the classic heavy-metal and hard-rock tradition. Their set is expected to combine their own material with songs associated with Dio, Rainbow, Black Sabbath and Ozzy Osbourne—artists whose music is particularly relevant to both musicians' careers. Gus spent years playing alongside Ozzy, while Romero became the voice of Rainbow under Ritchie Blackmore, making their interpretations of this material especially appropriate. For the Maltese audience, it also provides a fascinating contrast with the act preceding them. Atomic Flame will open the final day representing Malta's own heavy-metal scene, before Gus G. and Ronnie Romero take the stage with a partnership that connects Greece, Chile and some of the most important names in classic heavy metal. Two very different introductions to the final day The positioning of these two acts makes Sunday's opening particularly interesting. Atomic Flame arrive as a Maltese band still building its international reputation, but carrying decades of collective experience from the local scene. Their traditional heavy-metal approach gives the final day a genuine local foundation. Gus G. featuring Ronnie Romero, meanwhile, arrive with careers that have taken them from European metal and hard rock to Ozzy Osbourne, Rainbow and some of the most recognisable names in the genre. Their set promises a mixture of original material and songs firmly embedded in heavy-metal history. And they are only the beginning. After Atomic Flame and Gus G. featuring Ronnie Romero, the final day continues with Adrian Vandenberg – My Whitesnake Years and concludes with Europe's The Final Countdown 40th Anniversary Tour. In other words, Sunday moves from Malta's own heavy-metal tradition into a celebration of the international classic and melodic metal heritage that has influenced generations of musicians. For Atomic Flame, the occasion is another chance to show what Malta's metal scene can produce. For Gus G. and Ronnie Romero, it is an opportunity to bring their established partnership to the island and revisit some of the music that helped define their careers. Together, they provide a fitting opening to the final chapter of the second Malta Metal Weekend. Malta Metal Weekend 2026 13–15 November 2026 Eden Arena, St Julian's, Malta Sunday 15 November Tickets: Buy tickets for Malta Metal Weekend 2026

Norm Rejection Discography digital re-release Wil Pace – Vocals, Sean Vukovic – Guitar, Jo Kerr – Bass, Michael Briguglio - Drums Norm Rejection, one of Malta’s pioneering underground metal and crossover bands, are making their complete recorded catalogue available digitally, bringing together more than two decades of music that helped establish their uncompromising presence on the local alternative scene. Formed in 1993 by Michael Briguglio, Sean Vukovic, Wil Pace and Jo Kerr, Norm Rejection developed a distinctive sound that refused to sit comfortably within a single genre, combining metal with elements of thrash, sludge, hardcore, doom and punk into a heavy, politically charged and deliberately crossover sound. Their recorded history begins with the 1994 EP Subtly Mesmerized?, followed by the albums Deconform (1998) and 0002 (2000), before the band returned with the Belligerent EP in 2011 and their third full-length, The Radical Underground, in 2014. Along the way, Norm Rejection became known for their confrontational approach to songwriting and socially conscious lyrics, tackling themes of rebellion, politics, liberation and resistance, while remaining open to influences ranging from Black Sabbath, Coroner, Faith No More, Rage Against the Machine. The catalogue also documents the contributions of two important members of the band’s history: the late Andrew Martin, who contributed keyboards to Deconform and 0002, and Rex Grech Santucci, whose bass playing featured on Belligerent and The Radical Underground. The band’s early impact was significant, with their debut demo selling out within weeks, while tracks including “Malta Not For Sale”, “Blaster” and “Kemm Hawn Dwejjaq fil-Pajjiż” later became fan favourites. A distinctive crossover sound, a catalogue spanning two decades, a politically charged lyrical identity, a band whose music combined rebellion and liberation with a willingness to move freely between styles, the digital rerelease of Norm Rejection’s discography is a rediscovery of an important chapter in Malta’s underground metal history. Now in 2026, the original line-up: Pace, Vukovic, Kerr, and Briguglio, are currently working on new material. Norm Rejection return to the stage on Saturday 30th January 2027 at The Garage. More details soon.

From Malta To The World Their international touring career became another important part of that legacy. Beheaded performed extensively in Europe and also reached Brazil, a country with one of the world's most passionate death metal communities. These performances reinforced the band's reputation as a genuine international act. Their geographical origin remained an interesting part of their story, but it was no longer the reason audiences respected them. The music had long since earned that respect. There is also an important connection between Beheaded and Malta Death Fest. The festival became one of the most significant events in the island's extreme metal calendar, bringing international musicians and audiences to Malta. For a band that had spent much of its early career travelling abroad to meet the international scene, there was something almost symbolic about seeing that scene eventually come to Malta. Beheaded had helped create the credibility that made such developments possible. Beheaded 2022 photo (Facebook) Their influence on the Maltese metal community cannot therefore be measured simply by the number of albums they have released. They were among the bands that demonstrated to younger musicians that international recognition was achievable. When later generations of Maltese extreme metal bands began seeking European tours, foreign labels and international audiences, they were operating in an environment that Beheaded had helped establish. Then came Għadam. Released on 25 July 2025 through Agonia Records, Għadam represented perhaps the boldest artistic decision of Beheaded's entire career. The title means “bones”, and the album's concept draws upon the work of Maltese horror writer Anton Grasso. Most significantly, the entire album is performed in Maltese. Ghadam artwork This was not a token gesture. Beheaded had spent more than thirty years creating music that could communicate internationally. They had used English, the common language of the international metal world, to reach audiences beyond Malta. With Għadam, they deliberately abandoned that convention and turned towards their native language. The result was something uniquely their own. Maltese gives the vocals a distinctive character that is immediately recognisable to local listeners but intriguingly unfamiliar to international audiences. Its sound becomes part of the atmosphere. Words that are ordinary within Malta acquire a sinister quality when delivered through death metal vocals, distorted guitars and relentless percussion. For Maltese listeners, this creates an especially powerful effect. Hearing one's own language within a genre so strongly associated with northern Europe and the United States is unusual enough. Hearing it used to tell dark stories inspired by a Maltese horror writer is something else entirely. The choice of Anton Grasso is equally significant. Malta is often presented internationally through its Mediterranean landscape, historical architecture, religious traditions and tourism. Beheaded's Għadam presents another Malta: a darker, more unsettling place populated by fear, supernatural forces, psychological darkness and horror. In doing so, the band found a cultural vocabulary that perfectly suited extreme metal. The album is therefore much more than a linguistic experiment. It is a meeting point between Maltese literature, language and international extreme metal. It takes something deeply local and places it within a genre whose audience is global. Musically, Għadam continues the evolution that had already become apparent on Beast Incarnate and Only Death Can Save You. The brutality remains unmistakable, but there is greater emphasis on atmosphere, dynamics and mood. Reviews have noted darker textures and a broader musical palette, with some identifying traditional Maltese influences and more varied vocal approaches alongside the band's established death metal foundation. The reaction has naturally been mixed, as it is with any album that deliberately challenges the expectations built around a long-established band. Some listeners have preferred the uncompromising brutality of earlier releases, while others have welcomed the atmospheric and cultural developments. What is beyond dispute is that Għadam has given people something to discuss. That alone is significant. After thirty-five years, Beheaded could easily have produced an album designed simply to reassure existing fans. Instead, they took a risk. They wrote in Maltese. They drew inspiration from a Maltese writer. They explored aspects of their cultural identity that had rarely appeared so directly in their music. In many ways, Għadam is the sound of a band finally looking home. Beheaded 2025 This creates a fascinating circularity in Beheaded's history. The young musicians of 1991 were determined to make music that could take them beyond Malta. Their early demo travelled abroad, their debut album established them internationally, and their subsequent records took them onto stages across Europe and beyond. Their entire career was, in a sense, a journey outward. Now, after thirty-five years, they have reached a point where they can turn around and bring the world back with them. That is why Għadam is such an appropriate album to precede the band's 35th anniversary. It demonstrates that legacy does not have to mean repetition. Beheaded have accumulated enough history to be regarded as veterans, yet they have not allowed that history to become a prison. They continue to evolve, and their willingness to do so is one of the reasons they have survived.

The second edition of Malta Metal Weekend is set to take over the Eden Arena at St George’s Bay, St Julian’s, from 13 to 15 November 2026, bringing three nights of international heavy metal to Malta. Following its debut in 2025, which featured major names including Dream Theater, Opeth and Apocalyptica, the festival returns with a thirteen-act line-up covering several generations and styles of metal. The second day, Saturday 14 November, takes a particularly strong turn towards classic and traditional heavy metal, with Doro, Dirkschneider, Candlemass, Anvil and Malta’s own Anchorite sharing the bill. Among these names, Doro and Dirkschneider represent two artists whose histories are deeply intertwined with the development of European heavy metal. Both have spent more than four decades carrying that tradition forward, and both arrive in Malta with catalogues that have become part of the genre's history. Dirkschneider: Keeping the ACCEPT Legacy Alive Dirkschneider Performs In Berlin For anyone familiar with classic heavy metal, the name Udo Dirkschneider needs little introduction. As the original vocalist of German metal pioneers ACCEPT, his unmistakable rasp became one of the defining voices of European heavy metal. ACCEPT's rise during the early 1980s produced a succession of influential albums, including Breaker, Restless and Wild and, most importantly for their international breakthrough, Balls to the Wall. Songs such as “Fast as a Shark”, “Princess of the Dawn”, “Metal Heart” and “Balls to the Wall” helped establish the German band as one of the leading forces in traditional heavy metal. After leaving ACCEPT, Udo built a substantial career with U.D.O., but eventually decided to return to the material that had originally made him famous. The DIRKSCHNEIDER name was adopted for a touring project concentrating specifically on his ACCEPT-era songs. What was initially presented as a farewell to the ACCEPT catalogue proved far too successful to remain temporary. The Back to the Roots tours demonstrated that there was still an enormous appetite for hearing these songs performed by the man who originally sang them. The project subsequently developed into a major live attraction of its own. Live releases such as Live – Back to the Roots and Live – Back to the Roots – Accepted! documented the performances and were generally well received for their tight musicianship and faithful treatment of the classic songs. Reviews have frequently acknowledged that Udo's voice has naturally changed with age, but the distinctive character of that voice remains. The power of DIRKSCHNEIDER is not about trying to reproduce the sound of a 1980s singer artificially; it is about hearing one of heavy metal's most recognisable voices still delivering the songs with which it became synonymous. The current incarnation also has an interesting generational dimension. Udo's son Sven Dirkschneider is behind the drums, while Peter Baltes, Udo's former ACCEPT colleague, has returned to the line-up on bass. The presence of Baltes is particularly significant, as he was part of the classic ACCEPT line-up responsible for creating much of the material now being performed. For Malta Metal Weekend, DIRKSCHNEIDER will be bringing an especially significant show: a performance centred on ACCEPT's Balls to the Wall. The festival has specifically announced the performance as a Balls to the Wall show, making the appearance more than a general collection of ACCEPT classics. Originally released in 1983, Balls to the Wall remains perhaps the most internationally recognisable album of Udo's ACCEPT years. Its title track, “London Leatherboys”, “Fight It Back”, “Head Over Heels” and “Losers and Winners” remain staples of the classic-metal repertoire. The album was also revisited by DIRKSCHNEIDER in 2025 with Balls to the Wall Reloaded, a special anniversary recording featuring guest vocalists including Biff Byford of Saxon, Mille Petrozza of Kreator, Michael Kiske of Helloween, Dee Snider, Tim “Ripper” Owens and Doro Pesch. Reviews of the rerecording were mixed, with several critics making the understandable observation that the original album is difficult to improve upon. The project nevertheless provided a new interpretation of an important piece of heavy-metal history and, more importantly, reinforced how central Balls to the Wall remains to Udo's career. In Malta, however, the album will be heard in the environment where it arguably belongs most naturally: live, loud and in front of a metal audience. Doro: The Metal Queen Doro Photo by Christian Langer Few artists have maintained such a direct connection with the history of heavy metal as Doro Pesch. Born in Düsseldorf, Doro first gained international recognition as the frontwoman of Warlock, a band that emerged from Germany's burgeoning heavy-metal scene in the early 1980s. Warlock released four albums, culminating in the highly regarded Triumph and Agony in 1987. Before that breakthrough, however, Doro had already achieved something historically significant. In 1986, Warlock appeared at the legendary Monsters of Rock festival at Castle Donington, where Doro became the first woman to perform at the festival. The appearance placed her on the same stage as major names of the period and helped establish her as one of the most prominent female figures in heavy metal. Triumph and Agony subsequently became Warlock's defining album. Featuring songs such as “All We Are”, “Für Immer”, “I Rule the Ruins” and “Kiss of Death”, the album combined the traditional heaviness of the German scene with a more accessible and international approach. “All We Are” remains Doro's signature anthem, while “Für Immer” demonstrates another side of her abilities, showing that the powerful voice associated with metal anthems could also deliver emotional material with considerable conviction. When Warlock's story came to an end, Doro continued under her own name. What followed was a solo career spanning more than three decades, with periods of experimentation alongside a continuing commitment to traditional heavy metal. Her extensive catalogue includes albums such as Force Majeure, Calling the Wild, Fight, Warrior Soul, Raise Your Fist, Forever Warriors, Forever United and, most recently, Conqueress – Forever Strong and Proud. Her career has also been distinguished by an extraordinary list of collaborations. Doro has worked with musicians from across the metal spectrum, including Lemmy Kilmister, Slash, Gene Simmons, Johan Hegg, Mille Petrozza, Chuck Billy and Jeff Waters. Perhaps the most fitting collaboration came with Rob Halford. Doro had toured with Judas Priest during her early career, and decades later the two finally recorded together. Her connection with Halford represents the remarkable journey of an artist who once looked up to the leading figures of heavy metal and eventually found herself sharing the studio with them as an equal. Doro's relationship with Lemmy Kilmister was similarly important. Their friendship and musical collaborations became a recurring part of her career, and Lemmy's influence remained evident in Doro's work long after his death. Her 2018 double album Forever Warriors, Forever United continued this tradition of bringing together musicians from different generations, while 2023's Conqueress – Forever Strong and Proud celebrated her four decades in metal. The latter included the collaborations with Halford and demonstrated that, after so many years, Doro had no intention of abandoning the traditional heavy-metal style that had defined her career. Critical responses to her later work have occasionally been mixed, particularly when reviewers have felt that some releases rely heavily on familiar formulas. Yet her live reputation has remained remarkably strong. Reviews of recent concerts continue to highlight her energy, stage presence and ability to lead audiences through the big anthems that have become synonymous with her name. That consistency is arguably one of Doro's greatest strengths. She has never tried to hide what she is. She is a heavy-metal singer who loves heavy metal, and after more than forty years on stage, that authenticity remains central to her appeal. Two Voices, One Night of Metal History Putting Doro and DIRKSCHNEIDER together on the same festival day is therefore more than a meeting of two veteran performers. Both represent musicians who were already establishing themselves during the formative years of European heavy metal and who have continued performing long after many of their contemporaries disappeared from the scene. Doro brings the legacy of Warlock and her extensive solo career, while DIRKSCHNEIDER brings the voice that helped define classic ACCEPT. Both have survived changing musical fashions, industry shifts and several generations of heavy-metal trends without abandoning the foundations on which their careers were built. And there is an additional connection between the two: Doro herself appears on Balls to the Wall Reloaded, contributing to the 2025 reinterpretation of the ACCEPT classic. Now, in November, both artists will stand on the same Malta Metal Weekend stage. Saturday's bill is completed by Candlemass, Anvil and Anchorite, giving the second day a particularly strong traditional-metal character. Across the entire weekend, however, the festival offers a broader journey through extreme, gothic, doom, melodic and classic metal, with Kreator, Paradise Lost, Omnium Gatherum and Angelcrypt opening proceedings on Friday, followed by Europe, Adrian Vandenberg, Gus G. featuring Ronnie Romero and Atomic Flame on Sunday. For fans of classic heavy metal, however, Saturday 14 November may prove to be one of the weekend's most historically significant nights. Dirkschneider & Doro – `Winter Dreams` video Doro and Udo Dirkschneider are not simply performers revisiting the past. They are two artists who helped create that past and who, more than forty years later, are still taking it onto stages around the world. Malta Metal Weekend 2026 takes place at Eden Arena, St George's Bay, St Julian's, from 13 to 15 November, with doors opening at 17:00 each day. Single-day tickets and weekend tickets are available. Tickets: EventWorks – Malta Metal Weekend 2026 tickets Festival information: Malta Metal Weekend official website

RANKIN RETURN WITH ‘THIS FACTORY’ FIRST SINGLE FROM NEW ALBUM ‘RAGE’ Malta groove-metal band Rankin released “This Factory” today, the first single from their forthcoming second album, Rage, which is being released in January 2027. Recorded at SpineSplitter Studio with David Depasquale, the track marks Rankin’s first release since their 2022 debut album Chrysalis and opens the door to a new record four years in the making. Formed in Malta in 2018, Rankin built their sound around groove metal while drawing from sludge, stoner, thrash, progressive and alternative influences. Following the release of the 10-track Chrysalis, the band established itself as a regular presence in Malta’s rock and metal scene, developing a reputation for heavy, energetic live performances. Comprising James Byrne (vocals), Shaun Farrugia (guitar), Germán Salgado (bass) and Gimli Ukkonen (drums), Rankin, who are managed by Nick Grima MGT, have begun their next chapter with a track that sounds as heavy its dystopian factory concept. This Factory is a piston-pumping, gear-grinding piece of unapologetic groove metal, driven by grizzled guitars and the relentless momentum of machinery in motion. It also features a catchy chorus hook that showcases the power, both musically and vocally, that Rankin are capable of. Lyrically, the song rages against the replication and destruction of human autonomy and creativity. Topical… This dark AI nightmare sees humanity feeding its own production lines while individuality has been hole-punched through the heart by pistons, revealing automaton circuitry instead of bloody human viscera.Not a light topic but the feel and delivery of this mecha-apolocalyptic song certainly matches the concept. The band said: “After four years, we’re damn excited to finally release this monster of a single; the first part of a full album being launched soon. We’ve been putting this together with David at SpineSplitter Studio and couldn’t be happier with the final result. Now we’re so excited to start getting it out there. Do us a solid everyone, give it a stream and help support local music.” “This Factory” is out now and available on Rankin’s Spotify. RANKIN are: James Byrne — Vocals Shaun Farrugia — Guitar Germán Salgado — Bass Gimli Ukkonen — Drums THIS FACTORY — OUT NOW Taken from the forthcoming album Rage Recorded at Spinesplitter Studios by David Depasquale: https://spinesplitterstudio.com/Rage Release date: January Rankin is managed by Nick Grima MGT: https://www.nickgrima.com/