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MALTESE METAL VETERANS MUR.DOC 104 TEAM UP WITH NEW-GEN METALHEADS LITHIUM MALTA FOR THE FOURTH ITERATION OF "THE LIVING THRASH!" Taking place on  Saturday, 22nd November 2025  at  The Garage  in Zebbug, local metal veterans  Mur.Doc 104  will be teaming up with alternative/underground DJ collective  Lithium Malta  to present the fourth edition of  " The Living Thrash vol.4 ". This year's international headliner will be the  Luxembourg 5-piece thrash metal act  Sublind,  fresh off their new EP titled "Metalmorphosis", supported by local death metallers  Sacroment  and event hosts Mur.Doc 104. This year will see a bit of a twist to the usual setlist with three separate DJ sets between bands, specifically curated for the night by Lithium Malta.  "Our mission statement always remains the same, to re-establish metal as a valid alternative to mainstream music, raise awareness of the great talent that the local metal scene offers, whilst also giving an opportunity to local metalheads to experience great bands from the European underground scene. We strive to encourage the younger generation of local metalheads to participate and actively participate in live events since it is the heart and soul of the community. The scene is strong, but a generational divide remains. It is our intention to close that gap and get all metalheads together for a night of moshing, headbanging and fun whilst supporting the independent live music circuit" said Mur.Doc 104's drummer Oliver Farrugia. The Living Thrash Vol.4 will be held at The Garage in Zebbug. The Garage is known for being the home of Maltese Metal, hosting live bands every weekend, both local and foreign. Previous events held at The Garage include SoundArt, Nebular, Malta Death Fest and many others. The event is being organized by Mur.Doc 104. Active since 2015, the local quintet is known for their fierce yet melodic rhythm sections, versatile drumming and powerful vocals. They have made a name for themselves by giving energetic live performances in events such as the Xtreme Metal Assault,  Malta Doom Metal Festival, Metal over Malta and the Farsons Beer Festival amongst others. Following the launch of their EP  titled "The Undying" in 2023, the band is currently recording their full-length album with a planned release in 2026. Tickets for the event can be purchased online via  Ticketlane.mt . Doors open at 8pm. Event is strictly 17+.  All details about the event and Mur.Doc 104 can be found in the following links: Tickets:  ticketlane.mt/the-living-thrash-lithium/the-living-thrash-vol4 Web :  www.murdoc104.com E-mail :  mur.doc104.malta@gmail.com Facebook :  www.facebook.com/mur.doc104 Instagram :  www.instagram.com/mur.doc104/

BILA BEŻŻALART Visceral, high-octane and bone-crunchingly heavy - BEŻŻALART is the purest representation of Maltese caustic Hardcore/Noise Punk trio BILA, a blistering debut album melding their signature socially and humour-charged bursts of ragey bilingual energy, angular grooves, hooky shout out loud choruses and weapons-grade angry riffage. The sizzle their beloved bustling live sets are known for tightly put to record. Steeped in Maltese folklore, from islands drowning in concrete, BILA bring the heat on BEŻŻALART, an 11-track reaction to the real estate developer hellscapes neoliberal gargoyle governments conjur up (and other stories). Recorded at David Vella’s Temple Studios with celebrated UK producer/multi-instrumentalist Wayne Adams (Bear Bites Horse Studios/Petbrick, Big Lad), BEŻŻALART is released on Go Down Records/Kewn Records. PRE-ORDER VINYL HERE Nick Morales - Guitars, Vocals Samwel Mallia - Bass, Vocals Benji Cachia - Drums, Percussion Caustic Hardcore/Noise Punk band BILA is characterised by high octane socially and humour-charged bursts of energy in visceral and ragey, bilingual song form (Maltese + English). The trio started out towards the end of 2014 and later on released debut EP ‘Liba’ on cassette with Youth of Today, a small label from Venice (now re-released digitally with Malta-based KEWN records). This led to tours both in Malta and Italy, namely Venice in 2015. BILA has played multiple venues across Malta and at festivals such as Rock the South Malta and Sickfest among others. BILA were also invited to perform in the annual ‘Malta Takes London’ event both in 2016 and 2017, at Proud Camden and Blundell Studios respectively. BILA had their first 7’’ release ‘Do What I Want’ on Canadian Imprint Kingfisher Bluez and KEWN records in June 2018 to great success. 2018 saw the band open for Kaiser Chiefs at their only Malta show and later on in the year release their EP Bestjarju through KEWN records, supporting this offering by playing multiple shows and embarking on a mini tour in the UK in February 2019. In late 2019 BILA had the opportunity to tour alongside Illinois-based post-metal band Staghorn across the American Midwest to promote the release of their EP ‘Deheb, Inċens u BILA’, playing 14 blistering shows in 15 days across multiple states. The trio built on this buzz with constant gigging and writing of new material that was eventually recorded and produced by renowned UK producer/multi-instrumentalist Wayne Adams (Petbrick, Big Lad),  resulting in their first full-length album “BEŻŻALART” (2025), the purest representation of BILA’s sound, vibe and energy. BILA debut album BEŻŻALART launch show at Tigullio on 6 December From an island landscape buried in concrete and discontent, BILA return louder and fiercer than ever. After years of EPs, relentless shows, tours, and packed mosh pits, the trio is finally releasing their long-awaited debut full-length album, BEŻŻALART — an 11-track blast of caustic hardcore punk, fuelled by anger, humour, and a raw response to the real estate chaos and socio-political tension shaping Malta today. To celebrate, BILA are hosting a launch event at Tigullio, St. Julian’s, on the 6th December. The night promises an unfiltered showcase of the underground’s best — raw, loud, and beautifully unhinged. Joining BILA onstage: Bruda Kodin Hill and the Pressed Pills Dalam Beesqueeze Ananda Mida (IT) – special guests from Italy More acts will be announced soon. As always, BILA are marking the occasion with exclusive, event-only merchandise created especially for the launch. Presented by: Go Down Records, Kewn RecordsWith support from Urban Jungle, Converse, Festivals Malta, Rock N’ Malta, Music Playground, Tuff, Stretta Poster Illustration by Iella Poster Layout by Samwel Mallia

A simple 20, 40, or 60 minute routine Hi there, Some weeks are smooth. Others are a mix of rehearsals, juggling between different projects, admin, family, and surprises. On those weeks, a “proper” two‑hour practice can feel impossible, so we skip it. I’ve been there before and am going through it right now! What helps me is a short, clear plan I can follow in 20, 40, or 60 minutes. No overthinking. Open the case and start. Below, I’ll explain exactly what to do at each length and why it matters, in plain language. If you have 20 minutes Warm up (about five minutes). Start with slow, even notes to wake up your hands and ears. Aim for a steady sound and relaxed breathing. Take one awkward shift or string crossing and fix it gently. This isn’t about speed; it’s about reminding your muscles how to move smoothly. Groove (about ten minutes). Pick one short bar or riff and loop it. Your only job is to make it feel good. Adjust note length, where notes start and end, and how you place them against the click or a simple drum loop. Try sitting slightly behind the beat, then right on it, then slightly ahead. You’re learning where the pocket is and how to land there on purpose. Quick notes (about five minutes). Write three short lines: what went well today (Win), what still needs work (Problem), and the very next small step you’ll take next time. These notes keep you honest and give tomorrow’s session a head start. Even this short routine is enough to move you forward on a busy day. If you have 40 minutes Do everything in the 20‑minute plan, then add the following. Tidy two bars (about ten minutes). Choose two specific trouble spots from a piece you’re working on, just a couple of bars, not the whole tune. Play them slowly and cleanly at roughly 70% of the final tempo, three times in a row without mistakes. Then raise the tempo a little to around 85–92% and repeat. This focused repair work is where real improvement happens. It will not happen immediately, but the next day you will see and feel the improvement. Create for five (about five minutes). Finish with a small burst of creativity: improvise over a simple vamp or write a four‑bar idea. Record it on your phone. Don’t judge it. The goal is to keep your creative muscles switched on, not to produce a masterpiece. If you have 60 minutes Do everything in the 40‑minute plan, then add the following. Technique (about ten minutes). Work on one left‑hand skill (like shifting accuracy or finger independence) and one right‑hand skill (like articulation, ghost‑note control, or a three‑finger pattern). Technique is just the mechanics that make everything else easier. Keep it tidy and relaxed. Full run (about five minutes). Play one tune all the way through without stopping, even if you make mistakes. Treat it like a mini performance. When you finish, simply mark the bars that need attention tomorrow. This teaches you to keep going under pressure and to recover quickly when something slips. Handy helpers (explained) Tempo steps. Use a simple ladder: 70% → 80% → 92% → 100%. If something falls apart at a given step, drop back one, make it solid, and try again. This builds clean speed instead of messy habits. Use a timer. Start a timer for each block. The timer removes negotiation and keeps you moving. When it beeps, switch tasks and carry your focus forward. Short recordings. Capture twenty seconds of your groove or a tricky bar. Listening back once tells you more than guessing for ten minutes. Keep it short so recording doesn’t interrupt the flow. For fellow bassists (what I mean in practice) When I say “shape the note,” I mean pay attention to how long each note lasts and how it connects to the next one. Shorten or lengthen until the groove breathes. With ghost notes, play them so softly they almost disappear; this teaches touch and control. And with pocket, choose your placement—behind, on, or ahead of the beat—don’t drift into it. Deciding on purpose is what makes the line feel steady. Why it works You remove the constant “what should I do?” question. You see progress in writing because the three lines add up over time. Most of all, you keep showing up. Short, steady work beats rare, long sessions. Not a musician? Pass it on This same plan works for any skill. Think of the warm up as a simple way to get your brain started, the groove as your core repetition, tidying two bars as fixing a small piece of a bigger project, creating for five as a quick idea burst, technique as a short drill to improve the basics, the full run as a brief test under real conditions, and the three lines as a tiny reflection so you know exactly what to do next time. Weekly challenge Try the 20‑minute version today and send me your three lines: Win, Problem, Next step. I’ll share a few (anonymised) next week so we can learn from each other. Stay consistent, stay curious, and keep it in the pocket. Simon Merch Cd’s and Vinyl My Website Stream my Music

Chaos & Cadence (The Album) Now Available on Vinyl & CD Chaos & Cadence is an album that captures the full spectrum of what it means to be human, moments of survival, nostalgia, heartbreak, and hope, all woven together through anthemic melodies and raw emotion. From the powerful resilience of “ Survivo r” to the nostalgic pull of “ 1999 ” and the heartfelt intimacy of “ Paper Boat ,” the record flows like a cinematic journey through memory, emotion, and motion.   The vinyl edition comes in three Limited Edition secret colors   Red, Turquoise, and Yellow. Each copy is sealed, and the color inside is a surprise .  You won’t know which one you’ve received until you open it. Chaos & Cadence is available now at D’Amato Record Store in Valletta, Malta , or by emailing info@klinsmannofficial.com .   Youtube Website Instagram Spotify Facebook

Album cover artwork Forsaken’s Dominaeon  is a testament to the band’s ability to blend heavy, atmospheric instrumentation with profound theological and existential themes. Released on November 1, 2005, under Golden Lake Productions and reissued on vinyl by Immortal Vinyl Records in 2006, the album showcases the band’s maturity and innovation within the doom metal genre. 2025 marks the 20th anniversary of this monumental record, which was Forsaken’s third full-length album and a follow-up to Anima Mundi , released the previous year. The album paved the way for their next offering, After The Fall , which arrived four years later. Keep It True festival poster A few days after the album’s release, Forsaken performed at the highly acclaimed Keep it True  festival in Lauda-Königshofen, Germany, on November 5, 2005. Sharing the stage with renowned acts such as Virgin Steele and Raven, the band delivered a performance that solidified their standing in the international metal community. In Malta, the album was officially launched on January 15, 2006, at The Alley in Paceville, with support from local metal band Deluge of Sorrow. Forsaken’s approach on Dominaeon  sets them apart, as they delve into abstract concepts such as divine punishment, redemption, and existential suffering, creating a narrative framework that alternates between despair and salvation. The lyrics, written by bassist Albert Bell, are rich in symbolic imagery and elevated language, engaging listeners on both intellectual and emotional levels. Forsaken at KIT: photo Simeon Gatt The band’s musicality draws influence from genre giants like Candlemass and Solitude Aeternus while carving out a distinct niche. Guitarist Sean Vukovic’s rhythm work, paired with melodic solos, shines on tracks such as “Daylight Dies” and “Kenosis.” Drummer Simeon Gatt delivers dynamic and steady performances, while Albert Bell’s bass lines provide a powerful anchor to the album’s sonic landscape. Vocalist Leo Stivala’s delivery, featuring both cleans and haunting whispers, adds emotional depth. The production by David Vella at Temple Studios in Malta enhances the raw and immersive quality of the record, while the choir arrangements in tracks like “The Celestial Alchemist” and “Blood of the Son,” performed by the St. Monica School Choir, elevate the album’s epic scope. Michael Bugeja, writing for The Malta Independent  on January 11, 2006, praised the album as one of Forsaken’s most accomplished releases to date. He highlighted the band’s ability to craft a more reflective tone beneath its elaborate lyrics, noting the imposing title track and the epic choral accompaniments in “Obsidian Dreams” and “The Celestial Alchemist.” Bugeja remarked on the cohesiveness of tracks like “Daylight Dies,” the acoustic depth of “Blood of the Son,” and the climactic power of “Resurgam,” which he described as “packing equal parts rolling guitar attacks and blistering arrangements.” Album launch poster January 15, 2006, The Alley While the album has its highlights, it is not without its imperfections. Tracks like “Obsidian Dreams,” “Kenosis,” and “Wretched of the Earth” stand out for their cohesion and intensity. However, interludes such as “Blood of the Son” and “The Abscondant God” have been critiqued for disrupting the album’s flow. Despite this, the slower pacing and introspective moments offer depth and contrast, particularly in the context of the album’s overarching narrative. The journey of Forsaken, which began in 1990 under the name Blind Alley, reflects a trajectory of consistent evolution and refinement. The band’s lineup on Dominaeon  includes Albert Bell on bass, Simeon Gatt on drums and percussion, Sean Vukovic on guitars and choir arrangements, and Leo Stivala on lead vocals. Guest contributions, such as the St. Monica School Choir’s vocals on “The Celestial Alchemist” and “Blood of the Son,” along with additional effects and arrangements by David Vella, further enrich the album’s texture. The artwork, photography, and design elements, crafted by Jowita Kamińska, Stefan Glas, and Chris Zarb, add a visual dimension to the album’s themes. Forsaken at KIT: photo Simeon Gatt Forsaken’s Dominaeon  is an intricate exploration of the duality of light and darkness within the doom metal tradition. It is an album that challenges, uplifts, and enthrals, cementing its place in the genre's canon. Recorded and mixed at Temple Studios in Malta and mastered at Skyline Tonfabrik in Germany, it stands as a powerful representation of Forsaken’s unique approach to doom metal. The record’s thoughtful blend of abstract imagery and heavy instrumentation ensures its enduring relevance for fans of the genre. Bibliography 2Eagle333. "Deus Absconditus, Deus Revelatus," July 5, 2016. Nightrunner. "Some filler, some killer!" April 6, 2009. ImmortallyInsane. "Forsaken - Doom Masters," June 13, 2007. Michael Bugeja. “Dominaeon Album Review.” The Malta Independent , January 11, 2006. Credits Band Members : Albert Bell: Bass Simeon Gatt: Drums, Percussion Sean Vukovic: Guitars, Arrangements (choirs), Vocals (additional) Leo Stivala: Vocals (lead, additional) Guest Artists : David Vella: Effects (additional), Arrangements (choirs) St. Monica School Choir, Malta: Vocals on tracks 4 and 5 Choir Members : Jean Paul Attard, Mario Attard, Bernard Bezzina, Mark Scicluna, Lino Azzopardi, Ray de Bono, Nathanael Caruana, Vince Mercieca Production Team : David Vella: Engineering, Producer Kai Blankenberg: Mastering Chris Zarb: Sleeve Design Visual Artists : Jowita Kamińska: Cover Art, Photography Stefan Glas: Photography Recorded and Mixed :Temple Studios, Mistra Bay, Malta, July 2005 Mastered :Skyline Tonfabrik, Düsseldorf, Germany

Sonic Storm Unleash New Single “Bastard” Following Extreme Metal Assault Performance Just days after delivering a blistering performance at Extreme Metal Assault , local New Wave Thrash Metal band Sonic Storm  have announced the release of their brand-new single, “Bastard,”  set to drop on Friday, 31st October 2025 . Following the success of their debut album “Keys to Your Ruin”  (December 2023), Sonic Storm  have returned to their roots as a Thrash Metal trio , reigniting the raw intensity and power that defined their early sound. The band have been working on new material with the aim of releasing another record in the coming year. With “Bastard,”  Sonic Storm embrace a classic Thrash Metal  sound — fast, ferocious, and unapologetic. The single was mixed and mastered by Peter Grech at 21 Thirteen Audio , ensuring the track delivers maximum impact and precision. Lyrically, “Bastard”  takes aim at those who show no respect for others and live under the delusion that the world revolves around them — a message wrapped in the band’s trademark aggression and attitude. The single’s artwork, designed by Moshpit Creative , captures the song’s raw defiance and intensity. “Bastard” will be officially released on Friday, 31st October 2025, and will be available on all major streaming platforms. About Sonic Storm Sonic Storm at XMA. photos: Vincenzo Ammostr Coppola Sonic Storm are a New Wave Thrash Metal band renowned for their high-energy performances and uncompromising sound. Blending old-school aggression with modern precision, the trio have become a cornerstone of the local metal scene. With “Bastard,”  Sonic Storm continue to push their vision of pure, unrelenting Thrash Metal.

“When some months ago Edward Tagliaferro contacted me and Michael Bugeja about the idea of resurrecting XMA, I must admit I was thrilled but nervous at the same time.”   That one line encapsulates the mindset of many of us in the Maltese metal community. After COVID, things weren’t the same. Attendance dropped, hesitation became normal, and festivals abroad are collapsing week after week. Small islands like ours felt it even harder—our metal family is passionate but limited in size. And yet, as often happens in extreme music, from struggle emerged strength. A wave of new bands—Morsrot, Halcyon, Luciferi Regnum and others—began injecting new life into the scene. Edward saw this and decided that the resurrection of Xtreme Metal Assault would be built not on nostalgia, but on new fire . The official theme became “New Blood,”  and this time, he was not alone in steering the ship. As he openly admitted during an interview on my radio show, “She will eventually take over,”  referring to his daughter, whom he positioned as his right hand for the event. If her performance on the day is anything to go by, the festival is not only back—it’s secure for generations to come. Despite torrential rain hitting early in the afternoon, spirits were undeterred. By the time I arrived at Tigullio, a queue had already formed outside. Inside, however, the storm outside was quickly forgotten, replaced by an atmosphere so dense with anticipation it could be sliced with a power chord. At 6 PM sharp, Sacroment took the stage. One of the bands born directly during the pandemic, they fused old school death metal with speed metal, delivering a fierce opening salvo. Their performance included “Nightmare Abomination,”  the first song they ever wrote, inspired by their mascot and future album cover protagonist—a fittingly symbolic beginning for a festival about rebirth. Luciferi Regnum (photos: Karen Farrell) They were followed shortly after by one of the most rapidly rising post-pandemic acts: Luciferi Regnum. Fresh from a September appearance at Extreme Nocturneus Fest in Sofia, Bulgaria, they arrived confident and composed, performing a dark and melodic selection of material from their upcoming debut release, currently expected in 2026. Their presence on stage was that of a band already locked into their identity—commanding but not theatrical, forceful yet hypnotic. Alexia Baldacchino and David Fenech [Niket] (photos: Vica Mifsud) Niket were next, a rare blend of up-and-coming energy with established talent. Conceived by Nicholas Bonello as an experiment between heavy post-rock textures and blackgaze melancholy, the band—fronted by Loathe’s David Fenech—played their entire self-titled 2021 EP. The emotional apex of their set came when Alexia Baldacchino joined for “The Sights I See.” The crowd’s demand was so intense the band had to play it twice. Between that and their new track “Funeral Dust,”  as well as the successful debut of Oliver from Mur.Doc 104 on drums, Niket delivered one of the most unexpectedly heartfelt sets of the night. Carnivorous Horde followed, stripping away their usual costumes but losing none of their aggression. Their six-song set—drawn from their Slaughtered Uprising  EP and new material—finally triggered the evening’s first proper mosh pit, which would remain active for nearly every band afterward. The energy they unleashed prepared the ground perfectly for what came next: longevity meeting legacy. Rising Sunset, who will celebrate their 25th anniversary in 2026, marched onto the stage not as performers seeking approval, but as veterans reaffirming their reign. With an EP and four full-length albums to their name, their set was a powerful showcase of their lineage. Tracks from Vade Draconem Maledicte released 2024, De Mysterium Tenebris (2020), and Decretum (2016) collided with grandeur and discipline. It was the sound of endurance. From there, things got progressively more savage as Repugnance stepped into the spotlight. Active since 2011, they dove into material from their 2019 full-length Shrouds Of Deceit  and introduced three punishing new tracks: “Abhorrent Resurrection,” “Embers Of My Demise,” and “Substance.”  Their set was a reminder that brutality, when delivered with precision, is a form of catharsis. Sonic Storm (photo Danny Mifsud Cassar) Then came Sonic Storm—the night’s only thrash offering. With their debut album Keys To Your Ruin  released in December2023, they were sharp, disciplined, and ruthless. Their set didn’t just energize the crowd—it recharged it. Haine (photo: Vincenzo Ammostr Coppola) Haine maintained that intensity effortlessly. Since 2017 they had been carving their name into the local deathcore hierarchy, and with their debut full-length Fertile Void  released in January to extremely positive reception, they came to XMA with full confidence. Opening with two tracks from their debut EP (2021) before shifting into album material, they were unrelenting and crystal tight. The only foreign act of the night, VxPxOxAxAxWxAxMxCx * from Austria, brought glorious absurdity with them. Grindcore veterans since 2008, they performed the kind of set only grind bands can pull off—disgusting and hilarious, savage yet celebratory. It was like being beaten up while laughing. SaHHaR (photo: Kristina Saliba) And then, at last, Sahhar. A cornerstone of Maltese black metal since 2006, they delivered a nine-song conclusion: seven originals and two covers, one of which stunned the room—a tribute to Maltese punk band R.A.S with “Xi Z-Zobb Trid?”  It was unexpected, unorthodox, and absolutely perfect. Frontman Marton later commented, “This being the only show for this year, I wanted it to be special and memorable; I wanted people not to just look and listen, but to ‘feel’ something: elation, disgust, confusion, doesn't matter… nearly 50 minutes of threading the line between our realm and the beyond.”  The line was indeed crossed. SaHHaR (photo: Kristina Saliba) We left exhausted, slightly inebriated, and exhilarated. But the night did not end there. A few hours later, Edward himself posted an extended public reflection. He revealed that there were 164 attendees, plus 58 band members and crew —a far cry from pre-COVID XMA numbers, but still, in his words, “place was packed, mosh pits entire, a general good atmosphere.”  What made his message especially powerful was the sincerity of his gratitude. He didn’t merely thank the bands and crew; he named them. Sound engineers, stage techs, door staff, merch workers, social media helpers, even venue personnel—each was acknowledged. He then extended his thanks to the bands who applied but couldn’t be included  due to logistical limits, clarifying that 17 bands  had requested to play, and that future editions may expand as a result. However, the most impactful words were directed toward the crowd itself: “Last but not least - the ATTENDEES - it is YOU that make it happen... Tell your fellow 'rockers' this is a cool and safe event... Come join us next time let us continue building this community.” (photo Edward Tagliaferro) That is what made this edition of Xtreme Metal Assault more than just a comeback. It was not a nostalgic reunion. It was a declaration. A new foundation. A promise. The storm has passed. The fire has been relit. All that remains is to mark next year’s date. I already have.   * (if you’re curious to know the full name click here )

Malta joins the global Wacken Metal Battle once again | Apply now at www.metal-battle.com After a historic year that saw Malta’s very own MORSROT make national history as the Maltese band to perform at the world’s largest heavy metal festival – WACKEN OPEN AIR, the search is now on for the next Maltese act to conquer the stage in Germany. Applications for WACKEN METAL BATTLE MALTA 2026 are officially open, giving local bands the chance to compete for a once-in-a-lifetime opportunity to represent Malta on the holy grounds of Wacken Open Air. The Wacken Metal Battle is an international band contest established in 2004 to discover and support emerging metal talent across the globe. It has grown to include 62 countries, each hosting their own national heats, with winners earning their spot at the legendary Wacken Open Air Festival in Germany. From 12,633 applications worldwide, only 30 bands make it to the Wacken stages each year — and in 2025, MORSROT stood among them, performing on the W.E.T. Stage at Bullhead City in front of thousands of metal fans, marking a proud moment for the Maltese metal scene. Over the years, this global contest has been a launching pad for renowned bands such as Drone, Torture Squad, Battle Beast, and Hammercult, proving that the road to Wacken can open doors to an international career in metal music. Maltese bands – this is your moment. Step into the arena | Prove your power | Represent Malta on the world stage. Applications are now open at www.metal-battle.com

The upcoming edition of SoundArt Festival Malta is already stirring curiosity, and one of the most enigmatic names on the 24 October lineup is London-based instrumental collective Five The Hierophant , who will perform at St Aloysius Theatre in Birkirkara. Known for crafting sprawling, otherworldly soundscapes that merge post-metal, doom, dark jazz and ambient ritualism, the band has long defied conventional genre boundaries — and their arrival in Malta promises one of the festival’s most immersive live experiences. photo: Facebook Formed in 2014 and currently signed to Agonia Records, Five The Hierophant operate entirely without vocals, preferring to let layered instrumentation serve as their narrative voice. Saxophone, bowed guitar, percussion, drones, horns, effects and unconventional textures like gongs, zithers and music saws form the core of their sonic palette. Rather than adhering to traditional song structures, they build evolving atmospheres that shift from meditative haze to devastating intensity. As one reviewer on Encyclopaedia Metallum remarked, even a casual listener might be tempted to label them a jazz act at first, but once the saxophone gives way to darker undercurrents, their music transforms into something far more ominous and undefinable. 2025 Tour poster Their earlier releases gained underground attention, but it was 2021’s Through Aureate Void  that cemented their status as masters of cinematic doom-jazz. Though praised for its hypnotic textures and ambitious layering, some critics noted that its extended passages occasionally drifted without resolution. That sense of looseness, however, was reined in on their latest album, Apeiron  (2024), a record that both Angry Metal Guy  and Everything Is Noise  describe as a maturation of their sound. Electronics now pulse more distinctly beneath the compositions, basslines occasionally surge into distorted frenzy — as heard in the latter half of “Uroboros” — and melodic motifs emerge with greater clarity. Still, for all its refinement, the album does not sacrifice their sense of vastness. Its title, taken from the Greek word for “boundless,” proves fitting. photo: Facebook Live, Five The Hierophant are said to be even more potent. Those who have seen them at European festivals such as ArcTanGent and Mystic Festival often describe their sets as rituals rather than concerts. Without vocals to tether the audience to verse and chorus, attention is instead drawn to movement, texture and dynamic tension. It is music that breathes, expanding and contracting like a living entity — sometimes drifting in silence, sometimes roaring like thunder. In previous interviews, the band has acknowledged that touring is exhausting, yet the hour spent onstage is what makes the travel worthwhile. For attendees at SoundArt Festival Malta, their performance on 24 October is likely to serve as both meditative journey and sonic assault — music for sinking inward rather than singing along. Those expecting catchy hooks may be confounded; those willing to surrender to slow-building mood may find themselves completely absorbed. In a lineup filled with art, experimentation and genre fusion, Five The Hierophant may well stand as the most mysterious presence of the weekend — and perhaps the one most likely to linger in memory long after the final note fades. photo: Facebook

SoundArt Festival Malta has officially announced the full programme for its 2025 edition, promising “three days of music, art and creativity like never before” . The event will take place from 24–26 October 2025  at St Aloysius Theatre , bringing together live performances, exhibitions, workshops, gaming and a vibrant arts market. Organisers declared they were “thrilled to present the complete programme” , noting that additional details on activities powered by tabletop gaming collective W.A.R.S.  will be released in the coming days along with a full list of participating market vendors. A Weekend of Sound and Creativity The festival schedule includes: Live Concerts  on Friday 24th and Saturday 25th , featuring a mix of local and international artists across multiple genres, with a dedicated slot for an up-and-coming band. Creative Workshops  on Saturday 25th , covering music, visual arts and more. These sessions are complimentary  with a Friday or Saturday festival ticket, though advance registration is required . Board Games Day  on Sunday 26th , offering strategic and social gaming sessions hosted by W.A.R.S. Art & Photography Exhibitions  running throughout all three days, spotlighting local talent. Market Stalls  open daily, showcasing handmade crafts, artwork, merchandise and creative goods from independent vendors. Tickets and Registration Festival organisers emphasised that workshop places are limited , urging attendees to secure both their festival tickets and workshop registration as early as possible. Tickets are available via: 👉 https://ticketboot.com Workshop registration link: 👉 https://forms.gle/Pg3RMmVpK4zzcefm9 In a bonus move for music lovers, tickets purchased for Friday 24th are also valid for Saturday 25th — and vice versa , eliminating the need for purchasing two separate day tickets. Sunday 26th  is available as a separate ticket package  via Ticketboot. Community Support and Sponsors A spokesperson extended “a heartfelt thank you”  to the festival’s main sponsors — Blacklight Studios , Festivals Malta , and APS Bank  — for their role in making the 2025 edition possible. SoundArt Festival Malta is organised in collaboration with Blacklight Studios  and eight partner organisations , and is open to the public, both on and off Facebook . With immersive sound experiences, interactive art, and community spirit at its core, SoundArt Festival Malta 2025 looks set to be one of the island’s standout cultural events of the year.

MALTIN BISS — A Night of Local Talent in Aid of a Noble Cause Event poster On Saturday, 18 October 2025 at 8:00 PM, the Malta Police Band  will mark its 105th anniversary with Maltin Biss , a gala concert showcasing some of the country’s leading vocal talents and supporting the Malta Community Chest Fund . Under the baton of Maestro Anthony Cassar, the band will be joined on stage by guest vocalists Mary Spiteri , Kurt Calleja , Kristy Spiteri , Mark Tonna , Nicole Hammett , and David Joseph Sammut . The evening promises “a breathtaking mix of classics, contemporary hits, and patriotic tunes,” according to promotional materials. Tickets are priced at €15 and are available via the Showshappening platform. The concert will be hosted at Sir Temi Zammit Hall at the University of Malta in Msida. A Cultural Celebration with Purpose The event comes under the patronage of the Malta Community Chest Fund , with all proceeds dedicated to its charitable causes. Over the years, the Malta Police Band has taken part in philanthropic events and even international performances in Rome and the Vatican, contributing to cultural diplomacy and social giving. In a previous review of a concert by the Malta Police Band, The Independent (Malta)  praised the ensemble’s ability to bridge the musical world with community engagement. The review noted a “musical journey woven with elegance and emotion — from the proud patriotism of The Chimes of Liberty  to the poignant serenity of Mozart’s Clarinet Concerto.” It also commended Maestro Cassar’s enduring passion, stating that decades at the helm have not dimmed his energy. Voices from the Organisers A spokesperson for the Malta Police Force described Maltin Biss  as “a tribute to Maltese identity, music, and heart,” and urged audiences to secure their seats early for what is being billed as an unforgettable evening. Maestro Anthony Cassar, speaking in past interviews on the band’s role, highlighted the institution’s mission: “the band serves both as ambassador of music and of the Police Force, creating bridges between people and their traditions.” Anticipation and Significance This centennial-plus five celebration is more than a musical event — it is a reaffirmation of Maltese cultural pride and solidarity. As one of Malta’s oldest continuous musical institutions, the Police Band carries both historical weight and contemporary relevance. With a stellar line-up of voices and a resilient band tradition, Maltin Biss  is poised to be a night to remember. The public is invited to be part of this artistic and charitable moment. Event Details at a Glance When:  Saturday, 18 October 2025, 8:00 PM Where:  Sir Temi Zammit Hall, University of Malta, Msida Tickets:  €15 via Showshappening Purpose:  All proceeds to the Malta Community Chest Fund Destiny Band Oz Celebrate Double Honours: ASA Songwriting Shortlist and European Award Win Australian country-pop duo Destiny Band Oz  are riding a wave of success this October, with two major achievements announced within days of each other. On 1st October 2025 , the group — fronted by Tessa and Thomas Libreri  — revealed through their official Facebook page  that they had received an extraordinary eight song shortlistings  in the prestigious Australian Songwriters Association (ASA) 2025 Songwriting Awards . “Wow! We’ve just heard from Clare Barrett Burgess, the CEO of the Australian Songwriters Association Inc., that we have had eight songs shortlisted in the highly respected ASA 2025 Songwriting Awards!” the duo shared with fans. “Thank you!” The shortlisted songs, all penned by Thomas and/or Tessa Libreri , span a diverse range of musical categories — Open, Rock/Indie, Folk/Acoustic, Country, Contemporary/Pop/Dance, Comedy/Novelty, Australia,  and Ballad  — a testament to the pair’s versatility as songwriters. The ASA’s multi-stage judging process will now move to the next phase, with new judges selecting the Top 30 in each category  before the end of October. Winners will be announced at the ASA Awards Night in Sydney on 4 December 2025 . Reflecting on their ongoing connection with the ASA, Destiny Band Oz recalled previous recognition at the awards. “We’ve already had the immense honour of being previous Rudy Brandsma Award Winners,” they wrote, “but Covid restrictions meant the awards event was an online one, so we weren’t able to perform or be presented with the beautiful Maton guitar prize on stage.” The band also reminisced about earlier highlights, including the ASA’s inclusion of their music video This Is Our Land  during a past online ceremony — a nod to their contribution to Australian songwriting and culture. Despite being invited to attend recent in-person ASA events, scheduling conflicts prevented them from joining the celebrations in Sydney. “Unfortunately, we haven’t been able to attend the last two ‘in person’ ASA Awards events in Sydney due to a gig clash in 2023 and another commitment last year,” the duo explained. “So fingers crossed we make it through, as we’d love to attend the awards in Sydney this year on the 4th December!” European Recognition Follows Just a day later, on 2nd October 2025 , Destiny Band Oz shared yet another milestone: a win at the Red Carpet Award Show in Europe 2025 , hosted by FPCM Media . Their original song #InMyLife , written by Thomas Libreri  and performed by Tessa Libreri , earned them the “Best Country Voice Duo”  accolade. “WINNERS! Best Country Voice Duo for original song I "In My Life,” the band posted, expressing gratitude to the award organisers. “Thank you so much Gaby and Peter, judges, and everyone behind the scenes.” The Red Carpet Award Show, known for honouring international independent artists, adds to Destiny Band Oz’s growing list of overseas achievements, cementing their reputation as one of Australia’s most dynamic musical exports. A Year of Momentum 2025 continues to be a standout year for the Victorian duo with Maltese roots, who have built a loyal following both in Australia and abroad for their heartfelt songwriting and genre-blending style. With multiple songs in contention for national songwriting honours and fresh international recognition, Destiny Band Oz’s momentum shows no sign of slowing down. As the ASA 2025 Awards edge closer, fans will be watching to see if the duo’s impressive shortlist converts into more trophies — and perhaps a long-awaited return to the Sydney awards stage.

Keith Muscat in collaboration with Malta Pagana In pagan traditions, several deities and important figures are associated with music and the arts.  In this article we shall be shedding some light on the most notable ones. The Ancient Greeks Apollo & the Muses Considered as the god of poetry, music and prophecy, Apollo is the patron of poets, musicians and singers.  He is often depicted with a lyre in hand.  The Pythagoreans believed that music was connected to the worship of Apollo, as through mathematics and music one could purify the soul.  Apolla is also considered as the leader of the Muses.  Calliope, Clio, Erato, Euterpe, Melpomene, Polyhymnia, Terpsichore, Thalia and Urania are the ancient Greek Goddesses of literature, science and the arts.  In the modern age the word muse is still be used to describe a source of inspiration. Pan The Greek god Pan, having the hindquarters, legs and horns of a goat, is associated with the wild, shepherds and flocks.  He also symbolizes nature, sex, fertility and music.  The ancient Romans renamed him as Faunus.  Pan and Apollo once competed in a musical competition, in which Tmolus served as judge.  Pan played his pipes, hence the name pan-flute, but apollo was declared the winner.   The Ancient Romans Canens The daughter of Janus and Venilla and wife of Picus, Canens was a nymph from Latium, considered to be the personification of song, by ancient Romans.   When Picus rejected the advances of the witch Circe, she turned him into a woodpecker. Canens searched for her husband for six days before throwing herself into the Tiber river, singing one final song before she died.  She and Picus had one son, Faunus. The Ancient Egyptians Meret Considered as the goddess of singing, dancing and rejoicing, Meret often appeared with an offering bowl on her head, symbolizing her role as the recipient of Hapy’s generosity.    Ihy This ancient Egyptian god is often depicted playing the sistrum.  He is often associated with the goddess Hathor, who is sometimes considered as his mother.   His other symbol is the necklace. Hathor This powerful and popular goddess is known for her roles as a protector of woman.  She is also considered to be a goddess of love, beauty, music, dancing, fertility and pleasure.   Bes Commonly depicted as a dwarf-like being, Bes is considered to be the protector of children and god of music, merriment and childbirth. Norse Bragi The wise and learned bard of Valhalla, welcomes the recently deceased heroes in the hall of Odin. Celts Inuaria We do not know exactly what this Celtic goddess represents.  A small statue from the temple of Beire-le-chatel, in Burgungy, shows her as a woman with curly hair holding panpipes.  At the base the is an inscription reading ‘Deae Ianuariae.’   This spring shrine was also dedicated to Apollo.  Due her depiction with panpipes and the association with Apollo one can make an educated guess that she was also associated to music.      Cerridwen and Taliesin The Welsh enchantress Cerridwen was the mother of Afagddu and Creiwy.  She was married to Tegid Foel.  Medieval Welsh poetry refers to her as possessing the cauldron of poetic inspiration and the Tale of Taliensin recounts her swallowing her servant Gwion Bach, who is then reborn as the poet Taliesin.    Ogma Considered to be the inventor of the Ogha alphabet, he is described as being skilled in speech and poetry.   The Dagda Being a figure of immense power in Celtic mythology, the Dagda has a magic staff, club/mace which can kill nine men with one blow.  But also bring them back to life with its handle.  He also has a magic cauldron and a magic harp that can put the season in order.  The Dagda is one of the kings of the Tuatha De Danann, the race of supernatural beings who conquered the Fomorians in Ireland.   Angus Og In Irish mythology he is the god associated with youth, love, summer and poetic inspiration. Brigid Irish goddess associated with wisdom, poetry, healing, protection, blacksmithing and domesticated animals.    She was Christianised as Saint Brigid and her festival marks the beginning of spring.  African Oshun Oshun is a Yoruba river deity considered as the goddess of femininity, fertility, beauty, music and love.  She is also the patron of the Osun River in Nigeria.   Hindu Saraswati She is the Hindu goddess of knowledge, music, art, speech, wisdom and learning.  She is generally depicted with four arms, holding a book, a rosary, a water pot and a musical instrument called the veena.   Mesopotamia Ninatta and Kulitta These two goddesses are considered to be the handmaidens of the Hurrian goddess Shaushka.  Regarded as divine musicians, they assisted their mistress in her attempt to subdue the monster Hedammu with a love potion.    Slavic Veles He is considered to be the Slavic god of earth, waters, livestock, music and the underworld.    Väinämöinen The Finnish hero is the central character in the national epic Kalevala by Elias Lönnrot.   He is described as an old and wise man with a powerful, magical singing voice.   Chinese Han Xiangzi This figure in Chinese mythology, is one of the Eight Immortals of Taoism.  He is associated with the flute and believed to the composer of the musical piece Tian Hua Yin.   Fuxi This cultural hero in Chinese legend and mythology is credited, along with his wife Nüwa, with creating humanity and inventing music, hunting, fishing, domestication of animals and cooking.    Sunü Ancient Chinese goddess associated with music and sexuality.  She is depicted as a skelled singer who can play the zither. Kui Another important figure in Chinese mythology who is associated with music and dancing.   Korean Three Chaetpugi Brothers These brothers, worshipped during Ch’ogongmaji, a shanti rite, are credited with inventing the shaman’s law, tools and rituals.  They are also known as sammyo(ngdu), associated with the sword, bell, and fortune telling block.     Japanese Benzaiten This Japanese goddess originated from the Hindu goddess of speech, the arts and learning, Saraswati, with certain traits derived from the warrior goddess Durga.  She is considered as patron of music and the arts and is often depicted holding a biwa or a lute.   Polynesian Pasipo God of music from the Philippines in Polynesian mythology.   Lono Hawaiian god associated with fertility, agriculture, rainfall, music and peace.  He is also considered on of the four gods who existed before the world was created.  Native American Kokopelli Fertility deity revered by some Native American cultures in the Southwestern United States.  He is also associated with childbirth, agriculture and music.    Nltci Native American god of the wind and wind instruments.   Mesoamerican  Huehuecoyotl Aztec god of music, dance, mischief and song.    Sak Nik Mayan deity associated with music, the soul and the wind.   Ah-Xoc-Xin Mayan god of poetry and music. This article is being presented in conjunction with Malta Pagana  – The Ritual – Festival of Spirit on the land of Ancestors.   The fist edition will be held on 25 and 26 October.     Launched in 2025, this festival aims to bring neo-pagans and interested parties together, in Malta, for two days of blending ancient traditions with contemporary creativity.  The festival invites participants to explore the rich heritage of pre-Christian, folkloric, and earth-based spiritual practices through workshops, music, art, and ritual.   With a strong focus on ecological awareness, personal empowerment, and community connection, Malta Pagana is more than just a festival—it's a sacred gathering that honours the cycles of nature, the power of myth, and the enduring beauty of cultural roots. Whether you're a seasoned pagan, a curious traveller, or a lover of history and nature, Malta Pagana offers an unforgettable journey into the heart of Malta’s ancestral soul.  A Celebration of Ancient Rhythms through Modern Spirit.  Follow our Facebook page and keep yourself updated.  Facebook.com/people/Malta-Pagana .

A new radio series titled WIRT L-GĦANA Malti  has launched on Campus 103.7 FM, the official radio station of the University of Malta. The programme brings together broadcaster and musicologist Dr. Toni Sant  with veteran folklorist Charles Coleiro , who share conversations about Coleiro’s six-decade-long experiences with għana, the traditional Maltese form of folk singing. The series revisits landmark moments in Malta’s cultural history: from the Imnarja competitions in Buskett during the 1950s and 1960s , to the first televised għana programmes on TVM in the 1970s , and the creation of Għanafest in the 1990s . Along the way, Sant and Coleiro discuss some of the most historically significant figures in the genre, many of whom are commemorated with monuments, such as Mikiel Abela “l-Bambinu,” Indrì Brincat “il-Pupa,” Frans Baldacchino “l-Budaj,” Pawlu Seychell “l-Għannej,” Angela Mifsud “iċ-Ċalija,” and Fredu Abela “l-Bamboċċu.” Toni Sant. photo: Enrique Tabone Each broadcast blends lively conversation between the two veteran presenters with archival recordings of għana , carefully chosen to match the themes under discussion. The first episode aired on Saturday, October 4, and the programme continues every Saturday at 3pm, with a repeat broadcast on Sunday at noon, on 103.7 FM. For Toni Sant, the series represents a personal turning point: “After so many years working in Malta’s music scene and the entertainment world, I felt it was time to focus more than ever before on our roots. And these roots lie in għana, which predates the colonial influences we now hear in today’s popular Maltese music. To truly understand the Maltese heartbeat, you need to listen to a lot of għana. Doing this with a pioneer like Charles Coleiro is the best kind of laboratory we could hope for to rediscover our folk heritage.” Charles Coleiro. photo:Facebook On social media, Charles Coleiro expressed his gratitude for the collaboration: “Thank you for the invitation, Toni. I want to share with listeners what I learned from those who came before us, with the hope that għana will continue to be heard, remain alive among us, and endure for future generations.” Through WIRT L-GĦANA Malti , Campus 103.7 offers listeners not just a nostalgic journey, but a vital reminder of the enduring cultural value of Malta’s folk music tradition.

EKO MUZIKA Festival 2025 Set to Redefine Malta’s Music Scene with Eco-Conscious Celebration October 11–12, 2025 | Vincent’s Eco Estate, Mġarr, Malta Malta is gearing up for a cultural revolution as EKO MUZIKA Festival 2025  prepares to take over Vincent’s Eco Estate  in Mġarr this October. More than just another addition to the local festival calendar, EKO MUZIKA is Malta’s first fully eco-conscious music festival  — a two-day celebration where music, community, and sustainability unite under one mission: to make culture greener. Curated by the MusicPlayground community  and supported by organisations including Rock’N Malta, Festivals Malta, Coffee Circus, BeerHead, Tigullio, LewkFPV and Muzika Malta , the festival is organised by musicians, for musicians  — with every element designed to nurture both local talent and the environment. Nestled beside the UNESCO-listed Skorba Temples , Vincent’s Eco Estate will transform into a vibrant playground of rhythm, nature, and creativity. Festival-goers will be treated to an eclectic mix of world music, blues, funk, jazz, fusion, hip hop, rock and electronic  from some of Malta’s most exciting live acts, including: Cushion • Perseus Dream • Barefoot Lions • Kym Pepe • Soul • Taxi Vaders • V.I.E.W.S • Myles • Sempliċiment ta’ Triq feat DEM • Morgan Mage & Friends • Akshara • Son Gaia • Zizza & Jomy , with more artists to be announced. EKO MUZIKA goes beyond music — it’s a living, breathing celebration of sustainable living , offering: Artisan Market  featuring eco-conscious crafts, fashion, and art Workshops, Yoga Sessions & Eco-Walks  to recharge the mind and body Tree Planting & Farm Experiences  connecting attendees with nature Zero-Waste Policy  with reusable cups, compostable materials, and earth-friendly food vendors Camping Under the Stars  for tents or campervans — turning the festival into a true weekend escape And in a powerful symbolic gesture, every ticket funds the planting of a tree  — meaning every attendee becomes a direct contributor to Malta’s greener future. Early Bird tickets are currently available but strictly limited, making now the best time to secure your place. Day Tickets are reduced from €20 to just €15, while Weekend Tickets are now €22.50 instead of the standard €30. Those wishing to stay overnight can opt for a Camping Ticket at €31.50, down from €40, or bring a campervan for €37.50 instead of the usual €50. All tickets can be purchased at www.ekomuzika.com  — but once the Early Bird batch sells out, prices will return to full rate and won’t be restocked. EKO MUZIKA stands as a blueprint for the future of events in Malta  — blending cultural expression with environmental responsibility. For media, it’s a story that speaks to sustainability, creativity, and community impact.  For festival-goers, it’s more than a party — it’s a movement. Media Contact Luke Fenech Director – Music Playground 📧 ekomuzika.mt@gmail.com  | musicplayground.mt@gmail.com 📞 +356 79860303 🌐 www.ekomuzika.com  | www.musicplayground.org Instagram: @ ekomuzika.mt Facebook Event: https://www.facebook.com/events/1034426602015174

Devil’s Breath and Wolfskin Unveil “Unsettling Settlement” on Sombre Soniks’ Dark Ambient Compilation Vol. 30 Experimental sound project Devil’s Breath  has released a new collaborative track titled “Unsettling Settlement” , out now via Sombre Soniks . The piece appears as Track 14  on the label’s long-running Dark Ambient Compilation Series , marking its milestone 30th volume  in the 23-track edition. Teaming up with acclaimed Portuguese act Wolfskin , Devil’s Breath explores a profound and provocative theme at the core of human history: the moment humanity traded movement for possession . “Unsettling Settlement” meditates on a pivotal shift in early civilization — when nomadic hunter-gatherers chose to settle and claim land. This transition sparked a radical change: food was no longer the measure of personal survival; instead, land became the new currency of power and control . The track suggests that this turning point marked the beginning of social inequality, territorial conflict, and material obsession  — consequences still echoing in modern society through health crises, class divides, and violence . Musically, Unsettling Settlement  is best described as a Drone Noise Ambient piece , infused with Industrial textures  and Tribal undertones . The collaboration conjures an atmosphere that is both primordial and foreboding , inviting listeners to confront the uneasy origins of civilization itself. Unsettling Settlement  is available for streaming and purchase via Sombre Soniks: 👉 https://sombresoniks.bandcamp.com/track/unsettling-settlement

Keith Muscat in collaboration with Malta Pagana “ Music has the power to affect our health and wellbeing. This belief and related cultural practice have been evident throughout history, but the clinical profession of music therapy is only some 75 years old. As a field of practice music therapy has been described as an art and a science and regards to science its research foundation has drawn on psychoanalytic, humanistic, and behavioral traditions. As an emergent practice within the healthcare context, the focus of music therapy (a therapeutic relationship employing music as a means) and music medicine (the music or sound itself as the therapeutic) research has been primarily evidence-based. Mechanisms of effect have received little attention until recently.”   Lee Bartel, Abdullah Mosabbir – Possible Mechanisms for the Effects of Sound Vibration on Human Health.  Healthcare (Basel).  May 2021.   In a previous article from this series (Drumming…….the heartbeat of ritual!), we have seen how music or rhythms can affect both our physical and metal aspects.  Faster beats can motivate our workout, whilst soothing music has a calming effect.  And what is music, but a collection of sounds?  Vibrations in sounds affect our biochemical, neurological and physiological levels.  Whilst music therapy is a ‘modern’ concept, sound healing has been practiced since ancient times.     Essentially, in a nutshell, sound healing or sound bath sessions involve lying down in a comfortable setting, closing your eyes, focusing and immersing yourself in sounds emitted from various musical instruments.  These can take various forms, such as private sessions or group sessions, for which persons lie on a mat, whilst the therapist goes around with the various instruments.  During the session, the therapist will guide your focus on the sound emitted from the instruments.  The instruments of choice are usually not the melodious like types.  You are not in to listen to a symphony, but to powerful sounds that will reverberate in your mind, body and spirit.  The most important instruments for sound therapy are:   Himalayan Singing Bowls (metal) Crystal Singing Bowls (crystal / glass bowls) Rain Sticks Ocean Drums Tuning Forks Chimes Gongs Monochords Shruti boxes (musical instruments with reeds, operated through small bellows)   A sound bath can become cathartic in the sense that the sounds may stir in your memories or thoughts that make you cry and release feelings that have been stored inside you for ages.  Sounds may also bring joy and happiness, or just the much required and necessary relaxation.  The sounds are an aid for you to reach a deeper sense of consciousness, unplug from the hustle and bustle around you and concentrate exclusively on what is going on inside you.  After the session, the therapist will guide you back to the here and now and help you to ground.  Drinking water is recommended after each session.       For those seeking scientific reasons behind everything they try out, there is ample evidence that sound consists of vibrations that affect us on a cellular level, impacting nerve, muscle, brain and even organ function.  For instance, the soothing sound of waves gently crushing on a beach, will create in us a totally opposite sensation to the sound of nails screeching on a chalkboard.  In both instances our body reacts through neural, physiological and biochemical ways to the vibrations created by these sounds.    A study carried out by TL Goldsby and ME Goldsby, Goldsby (Eastern integrative medicine and ancient sound healing treatments for stress: Recent research advances. Integr. Med. (Encinitas). 2020;19(6):24-30), shows that therapy can significantly alter brain waves, changing agitated wave patterns to calm wave forms.  Through the decrease of our breathing, heart rate and blood pressure, our immune system will function more efficiently, reducing our stress hormones and triggering the release of feel-good chemicals in the brain.        Another interesting aspect of sound and vibrations is connected to ancient places, which were possibly used for worship or seem to be related to the practice of religion.  In 2015, Prof. Paolo Debertolis, Dr. Fermando Coimbra and Ms. Linda Eneix, published the results of an archaeoacustic analysis carried out at Ħal Saflieni Hypogeum.  The Hypogeum, which is an underground structure, was used in the Neolithic period as a depository of bones.  A shrine, referred to as the ‘Oracle Room’, might have been utilized for ritualistic purposes.  Through experiments that were carried out, the researchers detected the presence of a strong resonance effect (a double resonance frequency at 70Hz and 114Hz).  With a male voice tuned to these frequencies it is possible to stimulate the resonance phenomenon through the hypogeum.  It was further detected that percussion instruments can stimulate the resonance by their harmonics.   Further laboratory testing indicated that these frequencies have a strong effect on human brain activity.  If these chambers served for ritual purposes, could those attending be affected by vibrations created by chanting or drumming?  A very interesting question that cannot be answered in its entirety as these people did not leave any written documentation.      While sound healing might be able to help with self-care against anxiety, stress, depression, chronic pain, fatigue and overall mental and spiritual well-being, never stop medications and prescriptions ordered by doctors.  Sound therapy is part of the holistic alternative wellness practices that are gaining growing interest around the world.  This is a non-invasive, drug-free approach to a better state of health and well-being.  This, however, is not to be considered as additional aid towards our well-being and is not a substitute for professional medical care.  This article is being presented in conjunction with Malta Pagana – The Ritual – Festival of Spirit on the land of Ancestors.   The fist edition will be held on 25 and 26 October.     Launched in 2025, this festival aims to bring neo-pagans and interested parties together, in Malta, for two days of blending ancient traditions with contemporary creativity.  The festival invites participants to explore the rich heritage of pre-Christian, folkloric, and earth-based spiritual practices through workshops, music, art, and ritual.   With a strong focus on ecological awareness, personal empowerment, and community connection, Malta Pagana is more than just a festival—it's a sacred gathering that honours the cycles of nature, the power of myth, and the enduring beauty of cultural roots. Whether you're a seasoned pagan, a curious traveller, or a lover of history and nature, Malta Pagana offers an unforgettable journey into the heart of Malta’s ancestral soul.  A Celebration of Ancient Rhythms through Modern Spirit.  Follow our Facebook page and keep yourself updated.  Facebook.com/people/Malta-Pagana .

Keith Muscat in collaboration with Malta Pagana Festival Pagan Metal is an umbrella term for heavy metal music which brings together extreme metal with the concept of pre-Christian traditions.  It can relate to both culture and music.  The use of traditional instruments, unusual to the metal genre, and archaic languages, can be an important factor.  There is no one size fits all to which band falls under this term, as styles may differ greatly between one band and another.  Some consider folk metal and even black metal to fall under this umbrella, others differ as they stick to the term pagan to mean strictly pre-Christian.  A band can be folk metal, without being pagan and vice-versa. One of the first metal bands to self-defy as pagan metal are In The Woods…… Formed in Norway in late 1991 by members of the original line-up of Green Carnation, whom they are a continuation of.  By time the band started incorporating traditional instruments in their music.   These are some examples of bands considered to fit under the Pagan Metal label.  By no means is this list exhaustive:   Falkenbach  is a viking metal group from Germany that is signed to Prophecy Productions. The name means "Falconbrook" in German. They are one of the first viking metal bands, starting in 1989, with their first release that same year. Satyricon is a Norwegian black metal band formed in Oslo in 1991. Satyr and Frost have been the band's core members since 1993, and its only official members since 1997. The band's first three albums typify the Norwegian black metal style. Since its fourth album in 1999, the band has strayed from this style and included elements of traditional heavy metal in their sound. Satyricon was the first Norwegian black metal band to join a multi-national record label (EMI).   Cruachan  are an Irish folk metal band from Dublin that have been active since the 1990s. They are recognised as one of the founders of folk metal and have been acclaimed as having "gone the greatest lengths of anyone in their attempts to expand" the genre.   Graveland  are a Polish pagan black metal band which was formed in 1991 by Rob Darken. They began as a black metal band before adopting a pagan and Viking metal style. The lyrics and imagery of Graveland are strongly inspired by European mythology, nature, winter and war.   Obtest  is an extreme metal band from Vilnius, Lithuania. They started out in 1992 as a brutal death metal act, but soon changed the style to black metal. Their lyrics are related to Lithuanian mythology and are sung in Lithuanian, though a few of the songs on their demos were in English.   Black Messiah  is a German Viking / symphonic black metal band, founded in 1992. Primordial  are an Irish extreme metal band from Skerries, County Dublin. The band was formed in 1993 by bassist Pól MacAmhlaigh and guitarist Ciarán MacUiliam. Their sound blends black metal with Celtic music.   Formed in 1994,  Kampfar  is a black metal band from Fredrikstad, Norway. According to their singer, Dolk, their name is an ancient Norse battle cry which means Odin or Wotan. The music of Kampfar can be described as black metal inspired by Norwegian folklore and nature. Moonsorrow  is a Finnish pagan metal band formed in Helsinki in 1995. Musically, the band incorporates elements of black metal and folk metal in their sound. The band call their sound "epic heathen metal" and try to distance themselves from the term "Viking metal".   Butterfly Temple  is a pagan metal band from Moscow, Russia formed in 1995. Their lyrics are influenced by fantasy, paganism and legends. So far, Butterfly Temple released seven albums.   Menhir  is a pagan/black metal band from Thüringen, Germany and was formed in 1995 by Heiko, Manuela and Fix. The band's name is a term from the Celtic meaning "long stone". Hence, the Celtic / Germanic ancestors of the band members are thematically their focus. Menhir's lyrics usually shows this influence since they dive into the linguistic world of the Germans using the ancient language harmonized with their songs.   Formed in 1995, Thyrfing  is a viking metal band from Sweden. The band is named after the royal sword Tyrfing from Norse mythology.   Skyforger  is a heavy metal band from Latvia which was formed in 1995 out of the remains of doom metal band Grindmaster Dead.   Riger  was a Viking/Pagan Metal band from Frankfurt (Oder), Germany. Formed in 1996, Riger based their lyrics on German and nordic folkloric elements.  The band folded in 2015.   Volkolak  is a NS Pagan/folk band from Amur region, East Russia that formed in 1997. Strong National Socialist beliefs and White Pride ideals are… Pagination.   Formed in 1997,  Obscurity  is a German extreme metal band with strong Viking metal influences hailing from Velbert, a city in the Bergisches Land in North Rhine-Westphalia. They are one of the early German death, black, Viking, and pagan metal bands. Týr  is a Faroese folk metal band, formed in 1998. They have been characterized as one of "the islands' two most successful metal bands". Their subject matter revolves almost entirely around Viking lore, mythology, and history, taking their name from Týr, the god of war in Norse religion.   Formed in 1998, XIV Dark Centuries  is a Pagan Metal band from Thuringia, Germany. The band's lyrical themes are about Germanic Paganism and the Thuringian tribe.   Formed in 1999, Hel  is a Swedish Viking rock band, based in Eskilstuna, Södermanland, Sweden. The band's name is derived from the Norse goddess Hel. Formed in 2001, Equilibrium  is a German folk metal band from Bavaria. The band's music combines elements of folk music, pagan metal, melodic black metal and symphonic metal, though they recently added in more modern influences including metalcore and industrial metal. Their riffs reflect traditional Germanic melodies.   Heidevolk is a folk metal band from the Netherlands, formed in 2002. The lyrical themes of their music are inspired by nature, the history of Gelderland, and Germanic mythology. Most of their lyrics are in Dutch; however, on their 2015 album, Velua, they have one original English song, "Vinland", and several English covers.   Formed in 2002, Arkona  is a Russian folk metal band. Their lyrics are heavily influenced by Russian folklore and Slavic mythology, and their music incorporates several traditional Russian musical instruments. The name of the band "Arkona" refers to the last Pre-Christianized Slavic city-castle.   Eluveitie  is a Swiss folk metal band from Winterthur, Zürich, founded in 2002 by Chrigel Glanzmann. The project's first demo, Vên, was released in 2003. Vên was a studio project of Glanzmann's, but its success led to the recruitment of a full band, and the re-release of Vên as an EP in 2004.   Kroda  is a Ukrainian pagan metal band formed in 2003 in Dnipro. The band's primary lyrical themes are heathenism, history, nature, traditionalism and anti-Christianity.   Wolfchant  is a metal band formed in Sankt Oswald, Germany, in August 2003 by Lokhi, Gaahnt, Skaahl, and Norgahad. Wolfchant's lyrics deal with legends and folk tales from Nordic mythology.   Finsterforst  is a German folk metal band from Schwarzwald, Baden-Württemberg, whose lyrical themes deal with nature, German myths, and fantasy worlds. Formed in 2004, the group has released five studio albums, one extended play and one compilation album.   Formed in 2005, Varg  is a German metal band from Coburg, Bavaria. The band's name means "wolf" in Swedish. The band's songs deal mainly with paganism and Nordic mythology.   Welicoruss  is a symphonic black metal band, formed in 2005 by leader and main composer Alexey Boganov. The band is initially from Novosibirsk, Russia, and was reformed in Prague, Czech Republic, in 2013. Their lyrical themes touch on Theosophy, Philosophy, and other Occult and Esoteric subjects. Furor Gallico  is an Italian Celtic metal and pagan metal band that had originated in Milan, Italy. The band was formed by a collaboration among Melissa, Stefano and Becky in 2007. The band was formed upon the idea of playing new school Italian folk metal.   The list of Pagan/Folk/Viking Metal bands in inexhaustive.  There are some obvious names which you will not find in this list.  I tried to keep it as varied as possible so that you can enjoy finding out new bands in this genre. This article is being presented in conjunction with Malta Pagana  – The Ritual – Festival of Spirit on the land of Ancestors.   The fist edition will be held on 25 and 26 October.     Launched in 2025, this festival aims to bring neo-pagans and interested parties together, in Malta, for two days of blending ancient traditions with contemporary creativity.  The festival invites participants to explore the rich heritage of pre-Christian, folkloric, and earth-based spiritual practices through workshops, music, art, and ritual.   With a strong focus on ecological awareness, personal empowerment, and community connection, Malta Pagana is more than just a festival—it's a sacred gathering that honours the cycles of nature, the power of myth, and the enduring beauty of cultural roots. Whether you're a seasoned pagan, a curious traveller, or a lover of history and nature, Malta Pagana offers an unforgettable journey into the heart of Malta’s ancestral soul.  A Celebration of Ancient Rhythms through Modern Spirit.  Follow our Facebook page and keep yourself updated.  Facebook.com/people/Malta-Pagana .

Keith Muscat in collaboration with Malta Pagana Let me start off with a disclaimer.  Stress and mental health challenges are not to be taken lightly.  Though alternative therapies may alleviate some of the symptoms, always seek professional care. The right amount of stress might make you feel alive, but an uncontrolled dose will affect your mental and physical health.  It is a silent killer.  Mental health challenges are more in the spotlight and rapidly becoming one of the most common ailments of the modern era.  Nothing to be ashamed of.  The mind is just another body part that requires maintenance from time to time.  The scope of this article is to explore, in lay terms, the transformative effects of music on our mental wellbeing.  Taking some time out to distress and boost our mood can work miracles. Evidence-based research shows that music can be an effective stress reducing tool.  It has the power to change brain functioning by relaxing the mind.  This leads to a significant reduction in stress levels.  Music has a remarkable way to affect our body and emotions.  Research has shown that whilst upbeat music can make us feel more positive and optimistic and faster music can make us feel mor alert, music with a slower tempo has the opposite effect – it will relax your muscles and quite your mind.  Many things can turn your stress level up during the day……traffic, work, bills, deadlines, etc. etc.  Give it a try.  Either during the day, when you are packed in the tin box your call your car, stuck in the middle of chaos, under the scorching sun, or else after you come back home.  Put on some tranquil nature sounds or soft musical melodies and see how this will trigger physiological responses that help your mind and body destress. Studies suggest that music around 60 beats per minute (bpm) can cause the brain to synchronize with the beat, leading to alpha brainwaves, associated with relaxation and consciousness.  In everyday garble, this simply means that music with a slow tempo, will calm us down.    Listening to relaxing music can also help to decrease our accelerated heart rate and high blood pressure.  This is the way our cardiovascular system responds to stress.  Diminishing the stress levels by listening to music that will tranquilise us will calm our hearts down, and lower our blood pressure.       Another important factor for our overall wellbeing is our mental health.  It is undeniable that when feeling down a good tune can spark some light into the darkness.  This comes along because music has the ability to evoke emotions within us.  More often than not we find solace is music.  This practice goes beyond the feel-good factor.  Music Therapy is an evidence-based practice that has been increasingly utilized as a therapeutic tool by professionals.   So, the next time you feel short fused, frustrated by emotions and situations that you have no control upon, try listening to some instrumental, classical, meditation music or nature sounds.  There are many playlists to choose from, find one that works out for you and keep it handy.    This article is being presented in conjunction with Malta Pagana  – The Ritual – Festival of Spirit on the land of Ancestors.   The fist edition will be held on 25 and 26 October.     Launched in 2025, this festival aims to bring neo-pagans and interested parties together, in Malta, for two days of blending ancient traditions with contemporary creativity.  The festival invites participants to explore the rich heritage of pre-Christian, folkloric, and earth-based spiritual practices through workshops, music, art, and ritual.   With a strong focus on ecological awareness, personal empowerment, and community connection, Malta Pagana is more than just a festival—it's a sacred gathering that honours the cycles of nature, the power of myth, and the enduring beauty of cultural roots. Whether you're a seasoned pagan, a curious traveller, or a lover of history and nature, Malta Pagana offers an unforgettable journey into the heart of Malta’s ancestral soul.  A Celebration of Ancient Rhythms through Modern Spirit.  Follow our Facebook page and keep yourself updated.  Facebook.com/people/Malta-Pagana .

Keith Muscat in collaboration with Malta Pagana. In neo-pagan rituals or ceremonies, musical instruments are frequently used to enhance the experience, connect with the divine, and facilitate altered states of consciousness. Instruments like drums, rattles, flutes, and singing bowls are common, each carrying symbolic meaning and contributing to the overall ritual atmosphere.  The aim of this short article is to explore the possible use of Maltese traditional instruments during neo-pagan ritual.   With traditional musical instruments I am alluding to those musical devices that have been passed down through generations, within a specific culture and are often associated with folk music, rituals, or cultural celebrations. These instruments are typically made using traditional methods and materials, and they often play a significant role in defining the unique sound of a culture's music.  In Malta we have several such instruments like the horn ( il-qarn or il-qrajna ), whistles ( bedbut ), mirliton ( żummara ), folk flute ( flejguta ), tambourine ( tanbur ), bagpipe ( żaqq ), fraction drum ( żafżafa ) and conch shell ( bronja ).  There are more but not all kinds of instruments might fit in well with what we have in mind.  One might think of the traditional guitar, used in folk music.  It may fit during certain instances but not in others. Most of the instruments utilised during ritual are of the percussion type.  So the tanbur  and żafżafa  will fit in perfectly for a drumming session.  The Maltese tanbur  is basically a frame drum.  Other instruments that intrigue me are the qarn and flejguta , due to their association with the male deity.  The horn symbolizes power and reed instruments were preferred by gods such as Pan.    I would consider the use of the  bronja  during ceremonies such as the Winter or Summer Solstices, to salute the rising or seting sun.  Imagine that sound echoing through the garigue, as you stand upon a hilltop or a cliff, watching sunrise or sunset on such a special day.    These are just a few ideas about how traditional muscial instruments can be utilised for modern neo-pagan rituals.  Blurring the lines between the old and the new.  There are no limits to what one can use.  Imagintion has no confines.  It’s just about making good use of our traditions during our time of worship.  This article is being presented in conjunction with Malta Pagana – The Ritual – Festival of Spirit on the land of Ancestors.   The fist edition will be held on 25 and 26 October.    Launched in 2025, this festival aims to bring neo-pagans and interested parties together, in Malta, for two days of blending ancient traditions with contemporary creativity.  The festival invites participants to explore the rich heritage of pre-Christian, folkloric, and earth-based spiritual practices through workshops, music, art, and ritual.   With a strong focus on ecological awareness, personal empowerment, and community connection, Malta Pagana is more than just a festival—it's a sacred gathering that honours the cycles of nature, the power of myth, and the enduring beauty of cultural roots. Whether you're a seasoned pagan, a curious traveller, or a lover of history and nature, Malta Pagana offers an unforgettable journey into the heart of Malta’s ancestral soul.  A Celebration of Ancient Rhythms through Modern Spirit.  Follow our Facebook page and keep yourself updated.  Facebook.com/people/Malta-Pagana .

Keith Muscat in collaboration with Malta Pagana Since the dawn of time, prior to urban settlements, ritual (in the broad sense of the word) already played an important role in everyday life.  Humans turned to spirituality in search of explanations about matters they could not understand.  Their survival depended entirely on the elements.  Hunter gatherers where at the mercy of circumstances.  Later, after the discovery of agriculture, human existence depended entirely on a good harvest.  Rituals became more enhanced and a go between was chosen to bridge humanity with the gods.  Thousand of years passed between the ritualistic cave drawings and the building of magnificent temples, but the essence remains practically the same – communication with the divine. Drumming forms an important part of cultural expression for religious, communication and entertainment purposes.  The earliest type of drums date back to prehistoric times. Through archaeological remains we can make an educated guess that these instruments were crated by stretching animal hides over hollowed logs.  Prior to that sounds might have been created by beating sticks on hollowed trunks.  We cannot make dogmatic statements about the use of drums in religious ceremonies, as these people left nothing in writing, but in the way things developed, there is a high probability that percussion played an important role in ritual since its inception. Drums evolved with the advancement of culture.  New materials started being used.  All depended on what was available at that moment in time.  In Africa, from where all humanity emerged, drums have been used, since time immemorial, for dances in connection with rites of passage and spiritual ceremonies.  In Asia drums are also an essential part of ritual, like for example during the Shinto rituals (Japan).  Instruments made from alligator skins, dating back to 5500 – 2350 BCE, were found in China.  Also, the o-bon were used in Buddhist ceremonies to welcome the spirits of the dead.   In middle east and India ceremonial drums, such as the naqqara, found their way into their ceremonial practices.  Drumming formed an important part of religious ceremonies in both ancient Egyptian and Mesopotamian cultures.  Other instruments started developing and used in conjunction with drums and percussion, for both ritualistic and entertainment purposes.  These cultures influenced the ancient Greeks, whom in turn influenced the Romans.  Frame drums were played by women in rituals associated with goddesses like Demeter, Artemis and Rhea.    One cannot think about drumming without shamanistic practices coming to mind.  The civilisations of Siberia, Mongolia and other regions induced trance, by drumming, to facilitate spiritual journeys and aid healing.  Similar traits can be found in Native American cultures, where drums are considered to be the voice of deity and used to communicate with the spiritual world.           Drumming, and music in general are also important to the Judaic faith, which gave birth to the Abrahamic religions.  Their use is also encouraged in scripture:   Psalm 150:3-5: “Praise him with the sound of the trumpet, praise him with the harp and lyre, praise him with tambourine and dancing, praise him with the strings and pipe, praise him with the clash of cymbals, praise him with resounding cymbals.”   But things started to change once Christianity took over.  Drums started to be considered unsuitable for worship as they belonged to the pagan and earthly tradition.  The beat and frenzy were considered as sensual or sexual, and anything of the sort came from the devil.  Churches, especially in Europe, adopted choral music, such as Gregorian Chant, as the preferred method of ritual expression.  With time the organ and chamber instruments where embraced and started to be used during mass.  Drumming remained an important factor in the Catholic worship of African Americans, who integrated the old with the new.       Neo-paganism is an umbrella term that brings together earth-based religions.  To keep it simple, religions or groups that have adopted pre-Christian methods of worship, practices and traditions, as their core beliefs.  These traditions were not adapted lock, stock and barrel, but modified to suit our need in the here and now.  To neo-pagans drumming is a powerful tool to create harmony within a circle, facilitate the connection with the divine through altered state of consciousness and to work magic, especially for healing.   The drumbeat can be envisaged as the heartbeat of Mother Earth.  One beat connecting all participants to the divine.  The constant beat is believed to induced altered stated of consciousness, by stimulating the brain and creating a sense of euphoria.  This can be used in rituals both to communicate with the divine and to create a sonic landscape to amplify intentions and facilitate the manifestation of desired outcomes – which basically is the meaning of ritual magic.    Drum circles are also popular as they help to foster a sense of belonging and act as a catalyst for community building.  The vibrations produced by the drum can also have a calming effect, reducing stress and this may lead to healing and the feeling of an over-all wellbeing.    We have only scratched the surface, there is so much more to find out about the importance of drumming, both in ritual and our well-being.  Try you hand at joining a drum circle, within minutes you will be part of the flow, one with your fellow humans, creation and the divine.      This article is being presented in conjunction with Malta Pagana – The Ritual – Festival of Spirit on the land of Ancestors.   The fist edition will be held on 25 and 26 October.   Launched in 2025, this festival aims to bring neo-pagans and interested parties together, in Malta, for two days of blending ancient traditions with contemporary creativity.  The festival invites participants to explore the rich heritage of pre-Christian, folkloric, and earth-based spiritual practices through workshops, music, art, and ritual.   With a strong focus on ecological awareness, personal empowerment, and community connection, Malta Pagana is more than just a festival—it's a sacred gathering that honours the cycles of nature, the power of myth, and the enduring beauty of cultural roots. Whether you're a seasoned pagan, a curious traveller, or a lover of history and nature, Malta Pagana offers an unforgettable journey into the heart of Malta’s ancestral soul.  A Celebration of Ancient Rhythms through Modern Spirit.  Follow our Facebook page and keep yourself updated.  Facebook.com/people/Malta-Pagana .