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On Friday, November 15th, Ferret officially launched their debut EP, For The Love of Pizza , at Tigulio. Though the album was made available on social media on October 25th, fans eagerly awaited the live performance of its tracks—and Ferret delivered in their inimitable style. Having seen Ferret perform numerous times, I had high expectations, especially after navigating the perennial parking chaos of St. Julians on a Friday night. The evening kicked off with support from Esteban Medusa, a relatively new band that I had seen once before at Rock The South. Their performance showed remarkable improvement, brimming with energy and confidence. They're certainly a band to watch, and I look forward to catching them again soon. When Ferret took the stage, it was clear the night belonged to them. Despite some sound challenges, the band poured their hearts into their set, performing the entirety of For The Love of Pizza , alongside some older fan favourites and even a brand-new composition. Ferret’s live shows always offer something extra—whether it’s improvised jams or dynamic re-interpretations of their studio tracks, their energy is infectious. One of the highlights of the night was Minced πs , a freshly composed track born out of a discussion about the band's fluid approach to genre-blending during an interview I did with the band (interview can be listened here ). The song encapsulated their ability to effortlessly weave blues, metal, jazz, prog rock, and alternative elements into a cohesive, electrifying performance. It’s a testament to their creativity and musicianship, and I’m thrilled it was dedicated to me—hopefully, it’ll hit the airwaves soon. The set-list was a thrilling ride, opening with the EP’s first single, "Swamp Thing," and featuring standout tracks like "Cheeki Breeki," "Praxis," and "Hernia Through the Grapevine." Crowd favourites, including the vivacious "Open the Potato," brought the room alive. They closed with "Galactose Intolerant" and "Big Machine," before treating fans to an encore of "Cheeki Breeki," reaffirming its place as a true audience favourite. One minor disappointment was the absence of physical copies of the album, but when they’re released, they’ll be a must-have for any music lover who appreciates raw talent and masterful genre-blending. After the set, Ferret mingled with fans, rounding off an unforgettable night with a late-night jam session. Their gratitude was evident in their post-event reflections on social media, where they thanked the incredible crowd and everyone who made the launch possible, including Esteban Medusa, Tigullio, MusicPlayground, and their dedicated manager, Nicholas Bonello. Ferret’s return to the music scene is marked by passion, ingenuity, and a clear intent to stay. With For The Love of Pizza , they’ve delivered an album and live show that set a high bar, leaving fans excited for what’s to come. You can listen to the album here .

Albert Bell’s Sacro Sanctus unleashed their fourth album, Sword of Fierbois, in September 2022—a monumental tribute to the legend of Joan of Arc and her fabled sword. Packed with intense riffs, doom-laden atmosphere, and a host of guest musicians, this concept album blends heavy metal history with gritty storytelling. From powerful lead guitars to haunting backing vocals, each track showcases the talents of seasoned veterans in the metal world, creating an epic journey that spans over 11 tracks and 66 minutes. Albert Bell’s Sacro Sanctus returned in full force with their fourth album, Sword of Fierbois, released on September 30th, 2022, through Metal-on-Metal Records. The album stands as a historical metal journey, focusing on the legendary tale of Joan of Arc and the myth of the sword she discovered at Fierbois. This release saw Albert Bell pushing his signature blend of doom-laden heavy metal further, incorporating varied influences while delivering a dense, brooding soundscape. While the concept and storytelling drew praise, the album was equally noted for its extensive and impressive list of guest musicians, each leaving their own mark on the epic journey. Jeff "Mantas" Dunn (Venom Inc.) was among the most notable guests, providing both lead and rhythm guitars on the title track, "Sword of Fierbois." His fierce guitar work added an extra layer of intensity to the track, setting a grand tone for the album’s opener. Eduardo Slayer (The Cross) contributed additional vocals, while Julian Grech (Nomad Son/Tryst Arcane) layered the track with keyboards, lending a powerful atmosphere to the dramatic opener. For the pounding second track, "War, Metal, Leather," Owen Grech (Killerwitch) took on lead guitar duties, delivering gritty solos that mirrored the song's aggressive themes. Backing vocals were provided by Stefan "Rusty" Curmi (X-Vandals), whose contributions added a battle-hardened edge. Grech would return later on "Hail the Hammer," reinforcing his role as a core contributor to this heavy, doom-laden album. "Rise of the Scimitar" shifted gears with Sean Vukovic (Forsaken) on lead guitar and Achraf Loudiy (Aeternam) adding additional vocals. Vukovic’s guitar work provided the track with dynamic energy, giving it a unique, speed-driven intensity, while Loudiy's vocal contrasts were crucial in enhancing the song's harsh, martial atmosphere. "Hail the Hammer" stands out as a galloping, doom-inspired anthem that recalls Reverend Bizarre, and Jordan Cutajar's (Nomad Son) additional vocals were a fitting complement to Bell’s gritty delivery. Similarly, on the epic "Clarions of War," Stathis Pavlantis (Reflection) shone with his lead guitar, while backing vocalists Chris Kappas (Achelous), Kevin Portz (Gravety/Old Mother Hell), and Sascha Maurer (Dayfly’s Diary) contributed to the track’s layered battle-cry feel. Further enriching the album’s sonic landscape, Alan Jones of Pagan Altar delivered a stunning guitar solo on "Imperator," a track heavily influenced by the raw intensity of Motörhead and the epic narrative style of bands like Bathory. His playing gave the song a gravitas that elevated it above the steady, heavy riffs. In addition to the already impressive lineup of guests on Sword of Fierbois, track 7, "For God, King and Country," stands out as a bold anthem in its own right. This track features the backing vocal contributions of Arkham Witch members Aldo 'Dodo' Delle Rose, Simon Rourke, and Ben Snowden, each of whom added layers of vocal depth to complement Albert Bell's growling, gritty delivery. Their combined efforts on this mid-tempo, Motörhead-inspired track helped elevate the song’s militant, rallying cry, enhancing its power and drive. The backing vocals on this track were crucial in reinforcing the song's strong, battle-hardened themes, bringing to life the spirit of unity and defiance, much in the vein of metal anthems that echo war and resistance. Their contributions added an essential dynamic, highlighting the collaborative effort across the album while maintaining the gritty, true-metal atmosphere that Albert Bell’s Sacro Sanctus is known for. As the album neared its climactic close, "The Maiden from Lorraine" featured Luciano Schembri (Colourblind) on keyboards and Marcus Jidell (Avatarium / The Doomsday Kingdom) providing a soaring guitar lead. Both musicians added a majestic, almost ethereal quality, perfect for the track's reflection on Joan of Arc’s mythic significance. The following track, "Blood at Orléans," saw Martin Jepsen Andersen (Anchorite/Meridian) and Francesco Sozzi (Dark Quarterer) unleash dual lead guitars, with Leo Stivala's (Forsaken)vocals adding a dramatic, doom-inflected punch to the seven-minute epic. The album’s final moments were marked by the sinister "Flight of the Witch," where John Gallo (Blizaro/Orodruin) took the lead guitar helm, and the haunting "Ember Eyes" closed the album with lead guitar work from Chris Grech (Nomad Son/scarlet Pimpernel) and additional vocals by Jessica Grech (Scarlet Pimpernel), her voice adding an eerie, melodic counterpoint to Bell's gruff delivery. Critics such as GasMask Colostomy from Metal Observer appreciated the diverse range of guests but noted that despite this, the album maintained a largely consistent sound throughout its 66-minute runtime whelming presence of doom and traditional heavy metal elements kept the pace steady, and while some reviewers, like RaoulDuke25, felt the album could have benefitted from more variety, the contributions from the guest musicians ensured the album had plenty of standout moments . Spooky raised the combination of the dirty, gritty sound with historical themes, describing the album as perfect for fans of old-school metal and doom. Sword of Fierbois not only told a powerful story but also demonstrated Albert Bell’s ability to curate a vast array of talent to enhance his vision. The result was a heavy, battle-scarred journey through history, set to a soundtrack of doom, speed, and classic metal that will undoubtedly satisfy fans of the genre. If you haven't picked up a copy of this magnificent album yet, head over to the merch page on melodija.eu.

Mistura Releases New Song “Grazzi bil-Quddiem” After Four-Year Hiatus The Maltese duo Mistura has returned with a brand-new song after a four-year break. Titled “Grazzi bil-Quddiem”  ( Thank You in Advance ), this heartfelt track serves as a plea for peace and tranquility after a day filled with chaos and noise. Staying true to their roots, the song is performed in Maltese, reflecting the linguistic essence of their entire repertoire. Fans can enjoy the track now on YouTube: https://www.youtube.com/watch?v=asHLVA7aYG8 . Mistura first made waves in 2012 during the Għanja tal-Poplu  festival, where they clinched the WAFA Award for Best New Talent. Since then, the duo has graced numerous stages across Malta, including Rock the South, Teatru Unplugged, the Farsons Great Beer Festival, Evenings on Campus, Notte Bianca,  and Kotra. The band’s discography includes three studio albums: U d-Dinja Tkompli Ddur  (2014) Regħbus  (2018) MMXX  (2020) They also released a live album, U l-Kotra Għajtet f’Daqqa  (2016), capturing the energy of their live performances. Mistura’s music continues to resonate with listeners through its blend of introspective lyrics and compelling melodies. For more about the duo and their music, visit their official website at misturamalta.com . Contact: Website Email: info@misturamalta.com Social Media: @MisturaMalta

Nestled amidst the busy streets of Gżira, Malta, the Orpheum Theatre stands as a silent testament to a bygone era. With its majestic Art Nouveau architecture complemented by Spanish features, this historic building has, over the decades, become a cultural symbol in the locality. Despite its grandeur, the theatre's beauty is strikingly juxtaposed against the less prestigious surroundings—parked cars, old houses, and the ever-present construction sites. Today, it is a rarely used but treasured monument, awaiting its return to the spotlight. Early History and Design The Orpheum Theatre was commissioned in 1932 by Felix Gerada, a Maltese developer with ties to both Malta and Detroit. Designed by Maltese architect Harold J. Borg, who was only in his early twenties at the time, the theatre is an exemplary piece of Art Nouveau, one of the few on the island. Borg infused the theatre’s design with Spanish influences, making the Orpheum a unique architectural landmark in Malta. The initials "FG," carved onto the theatre’s façade, serve as a subtle nod to Gerada, who purchased the land from the Marquis Desain to develop this project. The building’s intricate carved reliefs are attributed to sculptor Alfredo Azzopardi, a renowned artist who had previously worked on prominent Maltese landmarks such as Balluta Buildings and Msida Parish Church. The theatre’s interior, although it has seen little use in recent years, remains a stunning example of early 20th-century design. Its flat-floored stalls, single balcony, and ornate blue stage, decorated with copper-colored columns, embody the charm of classic cinema and theatrical spaces of the time. Notably, the ceiling is adorned with a painting of Orpheus, the legendary musician from Greek mythology, created by Raphael Bonnici Calì—a work that played a significant role in the Orpheum’s designation as a Grade 1 listed building in 2001. The Orpheum in Its Prime: From Films to World-Class Performances In its heyday, the Orpheum was much more than just an architectural wonder; it was a thriving cultural hub. Initially designed to function as both a theatre and a cinema, it became a beacon for various performances, from cinematic showings to concerts by world-renowned artists. In March 1950, the Orpheum played host to Italian tenor Tito Schipa, who performed over two nights to a packed audience. A few weeks later, soprano Maria Caniglia graced the same stage, supported by Maltese tenors Oreste Kirkop and Paul Asciak. In 1953, British conductor Sir Malcolm Sargent led the Royal Marines Band Service in a Coronation Concert, marking another milestone in the theatre's illustrious history. Throughout the 1950s, the Orpheum continued to attract significant talent. Italian singer Claudio Villa performed in May 1954, followed by Luciano Tajoli, who gave five performances in 1955. In June 1958, Italian star Domenico Modugno took the stage, singing his international hit “Nel blu dipinto di blu,” a performance fondly remembered by Maltese audiences. As cinema began to decline in popularity, the Orpheum adapted to new cultural trends. In 1993 or 1994, the theatre became the unlikely venue for one of Malta’s first spontaneous pride parties—an event that was abruptly halted by police intervention, but which remains a significant moment in the country’s LGBTQ+ history. Two years later, the legendary heavy metal band Black Sabbath, led by Tony Iommi, performed at the Orpheum as part of their Forbidden  tour. The venue even appeared in a music video by the band, further cementing its place in popular culture. The Orpheum Theatre has continued to serve as a venue for notable performances also in recent years. On February 11, 2017, the former Wolfsbane and Iron Maiden vocalist, performing as a solo artist, took to the stage as part of his World Tour 2017. A few months later, on May 19, Italian symphonic death metal band Fleshgod Apocalypse electrified the audience during their King Tour. A Modern-Day Relic There is hope for the future of the Orpheum Theatre. In 2016, a comprehensive theatre catalogue was commissioned by Valletta 2018 (V18), shedding light on the condition of Malta’s theatres. The report highlighted the urgent need for restoration, and the Gżira Local Council has since announced plans to restore the theatre to its former glory. However, no definitive timeline has been set for these works, leaving the theatre’s fate in limbo. Still, the Orpheum’s potential as a cultural venue remains undeniable. With its 1,200-seat capacity and its grand architectural features, the theatre could once again become a hub for performance art, cinema, and concerts. It stands as one of the few surviving large single-screen cinemas in Malta, a rarity that adds to its historical and cultural value. Dénouement The Orpheum Theatre in Gżira is not just a building; it is a cultural icon that has witnessed some of the greatest performances in Malta’s history. From operatic tenors to heavy metal legends, the theatre’s stage has been graced by talents from across the world. While it now lies dormant, its majestic Art Nouveau architecture and rich legacy keep it in the hearts of many. As plans for its restoration take shape, one can only hope that this historic gem will soon shine brightly once again, offering a new generation the opportunity to experience its unique charm. Bibliography : Joanna Demarco, The Art Nouveau Gem Hidden in Gżira Has Hosted Some Big Names! Mp3.com , Teatru Orpheum Wikipedia, Orpheum Theatre (Malta) Valletta 2018, Spazju Teatrali: A Catalogue of Theatres in Malta and Gozo (2016) Theatre photos – Vassallo History , a project mamaged by the website vassallomalta.com

Launch of new Space curated by EMM Continuation of the Circuits 2024 Programme On 5th November 2024, Electronic Music Malta officially opened in the heart of Ħamrun, ISSA, Każin għall-arti emerġenti. During the opening of this new community space, Mr Edwin Balzan, President of EMM launched the continuation of the programme for its Circuits yearly program, and welcomed this new chapter in EMM's journey towards increased community building initiatives and cultural and artistic opportunities. Running between the months of November and December, the programme which is part of the 9th edition of Circuits, foresees the participation of a number of distinguished guests and experts in the field of music, arts, and culture. Some of the first names include Howard Keith Debono, Mike Spiteri, Mark Dingli [Specs], Keith Farrugia [Sound Synthesis], Monika Jovanovska, Mark Grima and Matthew Agius [U-Bahn], and Cedrik Fermont. The President explained that EMM is excited to provide the electronic music community in Malta with an opportunity to engage in workshops, interviews, and talks on various topics. He highlighted the role of Circuits @ISSA, aimed at further strengthening EMM's mission of promoting educational opportunities and dialogue across different artistic and cultural spheres. He emphasized that ISSA aims to create greater community cohesion through creative and innovative collaborations, ultimately establishing a multi-cultural hub for emerging artists and the general public. President Balzan thanked the Vice-President Toni Gialanze and EMM's Executive Committee for the hard work to transform ISSA and curate the Circuits program, and expressed gratitude for continued support by various collaborators and the electronic music community in Malta. Mr Kurt Buttigieg, Artistic Director for ISSA, and a long-time resident of Ħamrun, spoke about EMM's unique and welcoming opportunity to join the town's rich and thriving commercial and artistic network. He said "we are proud to be based in Ħamrun, a community with its own set of social challenges, but one which is rapidly becoming a beacon of positive change and a hive of culture and sports in a multicultural setting. We want to contribute to this ongoing renewal" He recognised the cultural and social validity of drawing on the rich local tradition of każini, as well as the tradition of artist-run spaces, to create a hybrid concept which is internationally-minded but firmly rooted in the local context. "It is as 'a place for those who need it and those who respect it'. In other words, a convivial place open for collaborations on many fronts: music, exhibitions, social work, debates, workshops, as well as other events and disciplines. No genres, only opportunities!" More Info ISSA Facebook page:  https://www.facebook.com/kazinissa/events This event is organised by Electronic Music Malta in collaboration with Black Box Pro and the German-Maltese Circle.Electronic Music Malta is supported by Arts Council Malta. Copyright © 2024 Electronic Music Malta, All rights reserved. Mailing address is: electronicmusicmalta@gmail.com

Nadine Axisa, a renowned Maltese jazz singer, stepped into new creative territory with the release of her second album Il-Ħoss tal-Għabex (The Sound of Twilight), launched in late 2019. This album marks a bold departure from her earlier work, embracing a contemporary jazz style infused with electronic elements while re-imagining Maltese classics from the 1970s and 1980s. By blending tradition with cutting-edge jazz experimentation, Il-Ħoss tal-Għabex has solidified its place as a significant contribution to Malta’s evolving jazz scene. Since the release of her debut album Velvet in 2014, which garnered high praise in jazz circles, Nadine Axisa has been known for her smooth vocals and affinity for easy-listening jazz. However, her sophomore project demonstrates a willingness to explore new sonic landscapes. Collaborating with local jazz musician and arranger Joe Debono, and producer David Vella of Temple Studios, Nadine began this experimental journey in 2018. The album features fresh arrangements of 11 Maltese songs, transforming their familiar melodies into vehicles for modern jazz exploration. The title Il-Ħoss tal-Għabex is emblematic of the album’s atmosphere—a delicate balance between the nostalgic and the avant-garde. Nadine’s vocal style in this project is notably ethereal, diverging from the traditional jazz phrasing and scat singing of her debut, and instead, evoking a dreamlike quality akin to Astrud Gilberto’s bossa nova sound. This shift in vocal style is complemented by the rich interplay of traditional jazz instruments like piano, bass, and drums, layered with electronic effects that push the boundaries of the genre. One of the album's standout tracks is a reworking of Malta’s 1972 Eurovision entry, L-Imħabba, where the playful piano improvisations create a new narrative for this classic tune. Another notable reinterpretation is Fit-Tieġ Tan-Neputija, originally popularised by Toni Camilleri in the 1970s. Nadine’s version introduces bubbly bass lines and electronic textures, creating a unique fusion of retro and modern soundscapes. The bluesy opening of this song, punctuated by electronic effects, adds a contemporary twist to its classic roots. Il-Festa, composed by Charles Camilleri and Joe Friggieri, also shines with its upbeat, funky rhythms, offering a vibrant synthesis of programmed percussion and subtle synth backgrounds. The album does not shy away from emotional depth either. The traditional Maltese Lament, featuring poet Frans Baldacchino’s evocative lyrics, stands out for its delicate programming and shifting tempos, merging the poignancy of the original with the sonic possibilities of contemporary jazz. Iż-Zmien Għaddej, a classic by The Greenfields, a group celebrated for their contribution to Maltese music, is another track that showcases the innovative spirit of Il-Ħoss tal-Għabex. Despite the risk of the electronic elements overpowering the more traditional instruments and vocals in a few instances, the album succeeds in its aim to create a fresh and forward-thinking contribution to the local jazz scene. This project represents a conversation between past and present, between the structured melodies of Maltese songs and the fluid, improvisational nature of jazz. It offers a glimpse of where contemporary Maltese jazz might be heading—embracing the electronic while remaining deeply rooted in its melodic traditions. Axisa’s work on Il-Ħoss tal-Għabex is not only a musical exploration but also a celebration of the Maltese language and its poetic power. As seen in tracks like Lulju Lewn in-Naħal fis-Sakra (July the Color of Bees in Drunkenness), a poem by Adrian Grima set to music by Joe Debono, the album highlights how the Maltese language can be moulded and reshaped through music, breathing new life into familiar words and narratives. Upon its release, the album received critical acclaim, and even took home the Best Album in Maltese award at the Malta Music Awards. The response from both jazz enthusiasts and lovers of Maltese music has been overwhelmingly positive, with many praising the album's innovation and respect for local traditions. In sum, Il-Ħoss tal-Għabex is a testament to the richness of Maltese musical heritage, reimagined through the lens of contemporary jazz. It invites listeners to rethink what they know about Maltese music, offering a sound that is both familiar and entirely new. Nadine Axisa’s project stands as a vital contribution to Malta’s cultural landscape, pushing the boundaries of genre while maintaining a deep respect for the past. References: Jazz Journal (2020) Adrian Grima (2019) Newsbook (2019)

Sammy Bartolo, born Salvu Bartolo on August 18, 1947, in Mellieħa, Malta, is remembered as one of the most beloved Maltese singers and a key figure in the island’s music scene. His life was marked by his distinctive voice and his contributions to Maltese music, both as a solo artist and as the lead vocalist of the iconic band New Cuorey . Bartolo’s musical career spanned more than three decades, earning him a place among the most cherished artists in Malta. He passed away on November 22, 1997, leaving behind a legacy that continues to resonate with his audience today. Early Life and Musical Beginnings Sammy Bartolo’s love for music blossomed at an early age. His first foray into the world of music occurred when he participated in a local song contest organised by the Żgħażagħ Ħaddiema Nsara at the tender age of 9. He initially played the drums and, by the age of 15, had formed his first band with other young musicians from Mellieħa. The early members of this group included his sister Mary Bartolo on vocals, Joe S. Grech on guitar, Joe Debono on bass, and Joe Bartolo on drums. Sammy himself took on the role of lead vocalist, marking the beginning of his long journey in music. Formation of New Cuorey  and International Success Bartolo's music career truly flourished in his twenties when he collaborated with Joe S. Grech, Paul Abela (piano and synths), and Joe Bartolo to form New Cuorey . The group initially performed regularly at the Mellieħa Bay Hotel, and it was there that they gained the nickname "New Cuorey", a term used by hotel residents. This name stuck with them, likely influenced by the numerous Italian tourists staying at the hotel. The band achieved significant success both locally and internationally. In 1972, they embarked on a tour of England, performing in leading clubs across Manchester and Blackpool. Inspired by their growing popularity, they began recording their music. Some of their early hits included songs like Il-Bajja tal-Mellieħa , Riviera Blu , Għajnejk Sbieħ , and Bħal daż-Żmien Konna Flimkien . These songs became instant hits, solidifying New Cuorey ’s position in the Maltese music scene. Their international ventures continued when they performed in Toronto, Canada, where they also appeared on Graham Cable TV  and released the song Id-Dgħajsa tal-Latini . However, one of their most iconic songs, L-Aħħar Bidwi f’Wied il-Għasel , released in 1976, became a timeless Maltese classic. Written by Alfred C. Sant and composed by Paul Abela, the song even gained recognition from Italian artist Claudio Baglioni, who performed it during a 2007 concert in Malta and released it as a single the following year. Notable Performances and Festivals Aside from his work with New Cuorey , Bartolo's career as a soloist was equally impressive. He participated in several Maltese music festivals, including the Malta Song Festival and the Folk Festival. His song Tagħlima , composed by Jo Naudi, earned him second place at the first edition of Konkors Kanzunetta Indipendenza  in 1983, where he also won the Best Singer Award. Over the years, Bartolo continued to participate in these festivals, with entries such as Urini Ħabib  in 1984 and Sewwa Sew Illum  in 1987. In 1982, Bartolo represented Malta in Dresden, Germany, thanks to his participation in the Festival tal-Kanzunetta Maltija . One of his most popular hits, Poeżija , originated from the festival in 1985, becoming another notable song in his repertoire. Later Career and Legacy In 1986, Bartolo formed a new band, The Harmonics , and released a cassette titled Maltese Memories . He continued to collaborate with Paul Abela and Alfred C. Sant on several projects, including the album Unity for Liberation , which was published in Libya. As a versatile artist, he also took on acting roles, notably portraying Jesus Christ in the musical Ikun Li Trid Int , which aired on TVM in 1976. The music from this production was later released as an album. Sammy Bartolo’s contributions to Maltese music did not end with his voice. In 1996, he recorded Ħallini Noħlom , a song featured on a double Christmas compilation album to raise funds for the Eden Foundation, a Maltese charity organisation. His final project came in 1997, when he reunited with the members of New Cuorey  to record their old hits on a CD, adding a new song, Kemm Hu Sabiħ , written by Paul Abela and Ray Mahoney. Sadly, Bartolo passed away on November 22, 1997, at the age of 50, just as the band had planned a tour of Australia. His untimely death marked the end of an era, but his music continued to live on. Commemoration and Ongoing Legacy To honor Bartolo’s memory and his contributions to Maltese music, his band-mates and family have taken numerous initiatives. In 2017, on the 20th anniversary of his death, New Cuorey  guitarist Joe S. Grech spearheaded the release of a commemorative album titled New Cuorey, Sammy Bartolo: Is-Suċċessi . This album, a re-release of their 1997 compilation Il-Bajja tal-Mellieħa , included the original 16 tracks along with a bonus song, Tislima lil Sammy Bartolo: Leħen f’Tarf il-Wied , performed by various Mellieħa artists, including Bartolo’s daughters, Nadine and Luisana. Sammy Bartolo’s legacy lives on through his timeless music, which remains a cherished part of Malta's cultural heritage. His unique voice and his contributions to Maltese music, both as a soloist and with New Cuorey , have left an indelible mark on the island’s music scene. Family Life Sammy Bartolo married Evelyn Debono on January 31, 1970, and together they had four daughters: Claudette, Charlotte, Nadine, and Luisana. His daughters followed in his footsteps, often performing their father’s songs and later embarking on their own musical careers. Sammy Bartolo’s life and career were dedicated to enriching Maltese music, and his contributions remain influential even after his passing. From his early beginnings in local contests to international tours and festival accolades, Bartolo’s impact on the Maltese music landscape is undeniable. His voice, along with the music of New Cuorey , continues to echo through the memories and hearts of many. Bibliography m3p.com . "Sammy Bartolo." Times of Malta . “New Cuorey commemorative album.” December 22, 2017.

Robert Farrugia Releases ‘Ballottra’ Ahead of upcoming soundtrack album ‘Natura Maltija’ Maltese ambient artist Robert Farrugia announces new soundtrack album Natura Maltija, providing a playful, ambient-inspired score of hardware synthesis and orchestral instrumentation to beautiful multi-part Maltese nature documentary About 'Ballottra' ‘Ballottra’ [Eng: Weasel], the first single from the ‘Natura Maltija’ [Eng: Maltese Nature] series soundtrack, is a playful, vibrant composition for Farrugia’s characteristic hardware synthesis,  embodying the agile, miniature, rarely-seen Maltese weasel. Employing orchestral instrumentation alongside synthesisers, the piece - as with the remainder of the record - is as lively, unique, and delicate as Malta’s fertile but isolated natural ecosystem. Throughout, nimble piano motifs  flutter atop strings, synth drones, and arpeggiation in deft and elegant symbiosis. In contrast to more poignant and melancholic moments elsewhere on the record,  highlighting the challenges facing Malta’s ecosystems, “Ballottra” evokes wonder and playfulness, celebrating its beauty. About 'Natura Maltija' [Official Soundtrack] Farrugia’s ‘Natura Maltija’ score marries traditional and organic orchestration with contemporary ambient-aligned sound design to support the narrative of the documentary series - itself a rare and deeply engaging longform experience, unique to the tiny Mediterranean archipelago Just as the series, Farrugia’s soundtrack captures the breadth and beauty of Malta's diverse wildlife. Each track corresponds a specific lifeform, both fauna and flora, while recurring motifs and instrumentation bind the album and series into an overarching narrative. Recorded, as usual, in his home studio, Farrugia worked closely with the series producers to offer both celebratory and wistful storytelling. Bugeddum Bufula Fkieren Lhudi Qabru Merill Gamiem Ballottra Qarnita Tema Series producer and director Saviour Bonnici's inspiration to create Natura Maltija [Eng: Maltese Nature] stems from a young age, largely influenced by his father, who shared his knowledge and passion for the natural world. Bonnici came to understand  that Maltese nature, rich in biodiversity - there are over 11,000 species, 130 of which endemic - was under threat. Sensing a want of environmental education in the Maltese school system, he took action. Natura Maltija, a beautifully shot and directed, entirely Maltese-language documentary series showcasing the island’s unique flora and fauna, was broadcast on One, a key terrestrial channel on Maltese television Bonnici met Robert Farrugia through mutual friend in Malta’s small but fraternal music scene, proposing that  Farrugia’s ambient prodcution matched the tone envisioned for the series. The soundtrack became essential in conveying each species’ story: wonderment for the rare weasel (‘“Ballottra’”) and sadness for the endangered Maltese freshwater crab (“Qabru”).  The first series, now completed, and already domestically broadcast, Natura Maltija is to expand its reach., with plans to make the series internationally available across online media platforms, with newly added English language subtitles.  The second series of Natura Maltija will be integrated into the local education system via the Maltese Ministry of Education, helping to promote nature education among students and foster a long lasting awareness of Malta's biodiversity. About Robert Farrugia Robert Farrugia is a dynamic and continually evolving ambient artist whose palette has, over years of releasing solo music, grown to touch on  drone, neoclassical, downtempo, and IDM. Drawn to acoustic instrumentation with significant personal value,  such as his family’s Weinbach piano,  these instruments become more than just tools for his compositional practice, they act as unique characters, each adding its own voice and depth. Milestones in his career include the releases of Tines in 2016 and Slow Morning in 2017, both on Spain’s Archives Records. He has also collaborated with Dylan Henner for one-off track "Xochitlatcan", and reworked Past Inside the Present boss zakè's "New Dawn" for the latter’s remix collection. ‘Ballottra’ Visualiser Check out the visualiser for the track on our Youtube Channel. Footage provided by series producer and director Saviour Bonnici. Copyright (C) 2024 Kewn Records. All rights reserved

Gozo, a small Mediterranean island covering just 67 square kilometres and with a population of approximately 39,287, has nurtured a surprisingly vibrant metal scene over the years. Despite its size, Gozo has produced a number of talented metal bands spanning various sub-genres of metal. Below is a chronological exploration of ten of the most influential and interesting bands to emerge from this small yet dynamic metal scene. 1. Apotheosis (Epic Symphonic Black/Thrash Metal) - Formed in 1993 Apotheosis was one of the earliest pioneers of metal in Gozo, formed in 1993 and spearheaded by the enigmatic Sauron , who handled vocals and all instruments. His sound blended black and thrash metal with symphonic elements, creating an epic atmosphere. Apotheosis left his mark with the demo Shadows Eve  in 1995, followed by Promo 97  in 1997. His crowning achievement came in 2002 with the release of Farthest From The Sun , a full-length album that cemented their influence. The ‘band’ remains on hold, but the contribution to the island’s metal scene remains significant. 2. Emetos (Thrash/Black Metal) - Formed in 1995 Emetos emerged in 1995 and quickly established themselves with their demo Demon . The band explored heavy themes like death, disease, altered states, and politics in their music, setting them apart in the local scene. In 1995, they also released a split with Guloo, a band from Bogota, Columbia, further diversifying their presence. In 2008, they released another demo, Bestial Possession . While Emetos is currently inactive, their intense style and politically charged lyrics made them a unique fixture in Gozo’s underground metal community. 3. Daemor (Black Metal) - Formed in 1996 Daemor was formed in 1996 by the musician known only as Blood , who performed all instruments and vocals. Daemor’s sound was raw, dark, and introspective, with lyrics revolving around war, death, and sorrow. The ‘band’ released two demos: Moments of Misery  in 1996 and Fog of Dawn  in 1997. Notably, Sauron  from Apotheosis contributed keyboards to their 1997 demo. Although Daemor is no longer active, ‘they’ remain a key player in the early days of Gozo’s black metal scene. 4. Enraged (Speed/Thrash Metal) - Active in the 1990s Another early band, Enraged, helped to lay the foundation for the thrash metal scene in Gozo. While information on the band is scarce, their demos, WWIII  (1992) and a rehearsal tape in 1994, are evidence of their participation in the local metal underground. Although little more is known about their history, their presence in the early 90s is worth noting as one of the roots of the island's metal movement. 5. Inner Grey (Progressive Metal/Rock) - Formed in 2007 Inner Grey brought a progressive edge to Gozo’s metal scene. Active from 2007 to 2016, they released the demo If Symptoms Persist  in 2008. Their lineup featured talented musicians such as Blasio Muscat (who with Joe Costa later formed Ascendor), John Cassar on vocals, Anthony Fenech on drums, and Joe Costa on guitars (ex-Rising Sunset). Despite splitting up in 2016, Inner Grey’s blend of progressive metal and rock left an indelible mark on Gozo’s musical landscape. 6. Ascendor (Thrash Metal) - Formed in 2011 Formed in 2011, Ascendor became one of Gozo's most prominent thrash metal bands. Despite being momentarily on hiatus, they released several full-length albums, including Becoming  (2013), Drive My Demons Away  (2015), Disturb the Dust  (2018), and Circle of Violence  (2020). Their lineup includes accomplished musicians Paul Formosa (also with Sonic Storm) on drums, Steve Muscat on vocals, and Blasio Muscat on bass and Joe Costa and Andy Fava, both on guitars. Thematically, the band explores topics such as inner demons, domination, and faith, contributing depth to their high-energy thrash sound. 7. Upper Lip (Hard Rock) - Formed in 2013 Upper Lip spurs a nostalgic and groovy brand of hard rock, drawing inspiration from both the stunning natural surroundings of Gozo and classic rock influences such as Rush, AC/DC, Rory Gallagher, The Smiths, and even Waylon Jennings. Since their inception in 2013, the band quickly gained a warm reception from rock fans, performing at numerous gigs and festivals across the islands. Their energetic live performances soon translated into more invitations to play. In 2019, Upper Lip embarked on a major project to record their debut album at the renowned Temple Studios, a location that has hosted prominent acts like Rammstein and Siouxsie and the Banshees. The result was Deep Within , an 11-track album released in May 2021, capturing the band’s signature groove and live energy. The singles Keep Going  and What Makes You Smile  both came with music videos, the former channelling the pumping spirit of 80s rock anthems. The band's lineup features Chris Portelli on vocals, Joseph Azzopardi as the lead guitarist and songwriter, Marcel Paul Grima on bass, and Clyde Vella on drums. Upper Lip remains active and continues to bring their hard rock sound to audiences both locally and beyond. 8. Psychopath (Thrash/Black Metal) - Formed in 2016 Victoria-based Psychopath has been an active force in the local scene since 2016, and is a project by Sean Attard, who handles both vocals and instruments. The 2020 full-length album Teratogenesis delves into dark and provocative themes, including Satanism, anti-Christianity, psychopathy, and anti-government sentiments. Sean Attard's involvement in multiple projects, including Mur.Doc 104, demonstrates his versatility and commitment to Gozo’s metal scene. 9. Aeon’s Child (Progressive Heavy Metal) - Formed in 2016 Formed in 2016, Aeon’s Child takes a more progressive approach, leaning towards instrumental compositions. The project, a brainchild of Kris Vella, released its self-titled album Aeon’s Child  in 2017, which showcased intricate musicianship and atmospheric soundscapes. The instrumental style sets him apart from many of the darker, lyrically intense bands in Gozo, offering a melodic and progressive take on heavy metal. 10. Zabbeth (Black/Thrash Metal) - Formed in 2021  Sean Attard’s other project Zabbeth is one of the newer additions to Gozo’s metal scene, formed in 2021 and still very much active. In 2022, ‘they’ released their self-titled debut album Zabbeth , which features Sean performing all instruments and vocals. The music follows in the footsteps of black and thrash metal traditions, with lyrical themes centred around Satanism and evil. The ‘band’ released a split with the U.S.-based band Vaulderie in 2024, showcasing their ambition to expand beyond local shores. The metal scene in Gozo, though emerging from a small and relatively isolated location, has produced a wide variety of bands over the decades. From the pioneering black and thrash metal acts of the 90s to the progressive and experimental projects of more recent years, Gozo’s metal community has proven itself to be passionate, diverse, and resilient. Whether through intense themes of death and darkness or explorations of progressive musicianship, these bands have collectively built a vibrant and unique metal culture on this small Mediterranean island.

Australian-born musician Stephan Borg, known by his stage name 'Wolff', has had a remarkable journey in the metal music scene, weaving his way from Malta's underground metal scene in the 1990s to his current solo project, Tatius Wolff . His career reflects resilience, creativity, and a passion for evolving soundscapes, drawn from a broad range of influences. In 1991, Borg co-founded the doom-death metal band Oblique Visions in Malta, with Brian Sammut on bass, Conrad Attard on drums, Jeffrey Bugeja on guitars, and Jason Agius on vocals. The band's early work, including a live recording titled Oblique Visions Live at Fort Rinella , showcased their heavy yet melodic sound. Their first official release, The Fallen , arrived in 1994, a demo that began solidifying their presence in the metal community. A pivotal moment for the band came in 1995 with the release of their full-length debut album, Seas of Serenity , which combined doom-laden atmospheres with melodic sensibilities. This album cemented their reputation in the Maltese metal scene. However, while working on a follow-up album, Borg made the life-changing decision to return to Australia. Reflecting on this move, Borg admits, "I was unsuccessful music-wise. I tried to find metal bands in Sydney, but there wasn't much of a metal scene in the late '90s, early 2000s... I kind of gave up, to be honest." For 17 years, Borg took a step back from music, but his passion never truly faded. In 2015, he re-entered the music scene with a renewed vigor, creating under the moniker Tatius Wolff . His solo project, founded in 2017, was inspired by bands like Type O Negative , Tool , Nine Inch Nails , and Deftones , incorporating a wide array of gothic, melodic, and progressive elements. Borg describes his sound as “a metal soundscape that switches between quiet interludes, angry heavy riffs, and thick bass lines.” His first single, Thumbscrews , dropped in June 2017, marking the official beginning of his solo career. Since then, Tatius Wolff  has released multiple singles and albums, including the hauntingly personal The Relapse  in 2018, a concept album centered around Borg’s own health struggles. "The songs on The Relapse are all about the journey of getting sick, thinking you're okay, but then it gets worse... It was really just me looking for something to write about," Borg explained. His work is deeply reflective, often touching on themes of vulnerability and resilience, channeled through a unique blend of metal styles. While Tatius Wolff  gained momentum, Borg's connection to his roots in Oblique Visions  never fully dissipated. In 2017, he reunited with the band for a special performance at The Garage in Malta. "I hadn't played in so long, but when they suggested a reunion gig, I was eager to get back into it," Borg said, recalling the challenges of relearning the old songs. The gig rekindled his love for live performance and collaboration with his old bandmates. Another reunion took place on November 1st, when Oblique Visions played yet another memorable show at The Garage in Malta. Borg had started rehearsing months in advance, preparing for the performance by relearning some of the band's older material and tackling new songs. “This time around, we chose a bunch of songs that I hadn’t played last time, so it was a bit challenging,” Borg said, reflecting on the experience. The reunion marked another high point in the band’s enduring legacy, demonstrating their ongoing relevance in the metal scene. This renewed connection with Oblique Visions  also led to Borg's involvement in the band’s latest album, Out of Darkness , released in 2023. Borg co-wrote two tracks, Husk  and Back to Earth , marking his first contribution to the band in over two decades. "We didn't have Conrad (the singer) at the time, so I wrote the lyrics as well. It was a great opportunity to contribute again, even though I'm on the other side of the world now," he shared. Borg's transcontinental career has undoubtedly influenced his music. Living in Australia, far from his Oblique Visions  bandmates, has made collaboration challenging, but he remains hopeful for future projects. "Frank Pizzo, (his replacement), and I haven’t collaborated yet, but I think we have a lot in common musically, and I’m looking forward to working with him in the future," he said. As Borg prepares to return to Australia following his recent stint in Malta, he remains optimistic about his future creative endeavors. "I'm really hoping that when I return to Australia, I'll have that inspiration back again," he says. His time with Oblique Visions  has clearly reinvigorated him, and he looks forward to continuing his solo work as Tatius Wolff , promising more releases to come. Through his work, Stephan ‘Wolff’ Borg has shown that musical passion transcends borders and time, and whether collaborating with old bandmates or forging ahead with his solo project, his dynamic and evolving sound continues to captivate listeners around the globe.

Athelstone, a progressive rock band hailing from Mosta, made a significant mark in the prog rock scene with their debut album, The Quiet Before The Storm , released digitally on Bandcamp on October 14, 2011. The album embodies the band’s eclectic approach to music, merging various genres, including progressive rock, jazz, fusion, and shoegaze, into a seamless blend. The band, formed in 2010 by guitarist Daniel Cassar and drummer/percussionist Matthew Vella, produced an album that reflects both the technical prowess of the musicians and the DIY spirit behind its creation. Athelstone was founded by Cassar and Vella, who took six months to compose nearly an hour of music in 2011. This project soon evolved into a full-fledged band when they recruited bassist Ryan Vella Bonello to complete their trio. Driven by a commitment to retain complete artistic control, the band undertook a DIY recording process during the summer of 2011, converting a basement, living room, and bedrooms into makeshift studios. The album was engineered, produced, and orchestrated by Cassar and Vella themselves, ensuring that the final product was true to their creative vision. The Album: Composition and Technicalities The Quiet Before the Storm  is composed of three expansive tracks: the titular “The Quiet Before the Storm” (22:49), “Jaaz” (08:09), and “Coming Full Circle” (23:20). These tracks are entirely instrumental, with guest appearances from Dana McKeon, Fabian Bonello on saxophone, and cellist Rachel Attard Portughes, enriching the sonic landscape. The band’s creative intent was to push boundaries, blending contrasting genres to create a unique listening experience. The opening title track, “The Quiet Before the Storm,” epitomises this with its ebb and flow between atmospheric soundscapes and intense, distorted guitar riffs. As described in reviews, the track alternates between calm, dreamy sections and raw, chaotic passages, reflecting the band’s embrace of unpredictability. “Jaaz,” the second track, takes a different approach, leaning heavily into jazz and bossa nova influences before exploding into heavy, distorted guitar sections, as one reviewer noted, creating an interplay between smooth jazz and unruly rock. The final track, “Coming Full Circle,” stands as the most ambitious of the three, introducing electronic elements, Mellotron, and even vocals reminiscent of Pink Floyd's The Great Gig in the Sky . The track moves fluidly between moments of tranquillity and explosive crescendos, ending with a psychedelic, feedback-laden climax. Technical Execution and Sound While Athelstone’s technical abilities were praised, the production quality of The Quiet Before the Storm  became a point of contention among reviewers. The album was self-recorded and mixed by the band, which resulted in some sonic imperfections. Several critics commented on the excess of distortion and the occasionally murky sound of the guitars. Reviewer Andrea on Prog Archives  remarked that the sound quality did not match the quality of the compositions, which were otherwise full of intriguing ideas and dynamic shifts. The heavy guitars, while central to the band’s sound, were described as “ailing” by some critics, detracting from the overall brightness and clarity of the album On the other hand, some listeners appreciated the raw, unpolished aesthetic of the album, suggesting it added character to the music. The album’s experimental nature, combined with its DIY recording, gave it a distinctive charm. The band's ability to move between genres, fusing jazz, bossa nova, and post-rock elements, was largely seen as one of its strengths, as it kept the album dynamic and unpredictable. Critical Reception The Quiet Before the Storm  garnered mixed reviews, with most critics offering three out of five-star ratings. The album was praised for its ambition and creativity, particularly in its ability to blend a variety of musical styles and textures. However, reviewers also noted areas for improvement, particularly in terms of production quality and coherence in structure. Epignosis, a prog music collaborator, highlighted the album's ability to touch on every major progressive rock style, with jazz being its “home base.” Yet, he also critiqued the guitar tone, expressing a preference for a brighter, clearer sound. Similarly, AtomicCrimsonRush praised the band’s musicianship but pointed out the lack of a strong conceptual framework, which made it harder for him to connect with the music on a deeper level. Memo_anathemo, another critic, echoed these sentiments, acknowledging the band's potential while also critiquing the predictability of the album's longer tracks. Despite these critiques, the band’s ability to create dynamic, non-repetitive compositions was often noted as one of their strengths, and the album was seen as a solid foundation for the band to build upon in future projects. The Quiet Before the Storm  was a bold first step for Athelstone. The album’s eclectic mix of styles and genres, combined with the band’s willingness to experiment, established them as a unique voice in the progressive rock scene. While the production quality of the album may have held it back from achieving its full potential, it remains an impressive debut that showcased the technical abilities of its musicians and their commitment to pushing musical boundaries. As the band’s mission statement suggests, Athelstone's primary goal was to make music for the pure joy of it, and in that sense, The Quiet Before the Storm succeeded in capturing the essence of their creative spirit. Bibliography Andrea. "Review: The Quiet Before the Storm." Prog Archives , November 17, 2017. Epignosis. "Review: The Quiet Before the Storm." Prog Archives , August 17, 2013. Memo_anathemo. "Review: The Quiet Before the Storm." Prog Archives , August 5, 2013. AtomicCrimsonRush. "Review: The Quiet Before the Storm." Prog Archives , November 9, 2012. MemoWakeman. "Review: The Quiet Before the Storm." Prog Archives , June 30, 2012. Lazland. "Review: The Quiet Before the Storm." Prog Archives .

Ozzy Osbourne’s first lines of the song Mr. Crowley are familiar to most metal heads:   Mr. Crowley, what went on in your head? Oh, Mr. Crowley, did you talk to the dead?   In his style, Ozzy is taking the mickey out of the man that has been labeled as ‘The Great Beast 666’ and ‘the wickedest man in the world.’  This song, featuring on his solo debut Blizzard of Ozz (1980) ,  puts under the spotlight the credibility of the British occultist, poet, ceremonial magician and mountain climber, Aleister Crowley.  Ozzy was not the only to fall under the spell of Crowley, as we shall see later in this article.  But first a few lines about the man himself.  This is by no means a biography of Crowley but some highlights of his life to give a bit of context.  Aleister Crowley Born in 1875, Aleister Crowley was brought up in a fundamentalist Christian environment and this explains a lot on his rebellious character and disregard to rules, later in life.  Coming from a well-off family he could afford a life of luxury devoted to the subjects that really interested him.  At the beginning of the twentieth century there was a resurgence in esoteric societies and soon Crowley was rising through the ranks of the Hermetic Order of the Golden Dawn and the Ordo Templi Orientis.    Crowley’s strong headedness and dubious methods soon led him to be donned as a black sheep, even to fellow occultists, and soon he branched out with this own spiritual philosophy, Thelema, to which he appointed himself as prophet.  Crowley added the k  to magic, to differentiate the practice of occult workings from prestige parlor tricks.  Following a path of experimentation, he journeyed to India and North Africa, amongst other countries.  He did not hold back from sexual hedonism, drug abuse and sadomasochism in the attempt to reach his goals.      Crowley published many books throughout his life, amongst of which we find Magick in Theory and Practice  (1929), Moonchild (1929) and The Book of Thoth (1944).  Other books were published posthumously.  Crowley has been and still is the subject of may researched articles and books.  Hate him or love him, you cannot be neutral about The Beast.  From reams of paper that he has published, he is remembered best for his maxim “Do what thaou wilt shall be the whole of the Law.”   And what phrase could resound more to the rebellious nature of Hard Rock and Heavy Metal.       Aleister Crowley passed away in 1947, aged 72. Influenced parties. The Beast makes an appearance on the cover of one of the most influential rock albums in history – The Beatles Sgt. Pepper’s Lonely Hearts Club Band.  In the upper-left-hand corner, between Indian guru Sri Yukteswar Giri and actress Mae West, there is The Beast himself.  Another huge figure in hard rock, Jimmy Page, showed a keen interest in Crowley and purchased Boleskine, the magician’s former home on Loch Ness.   David Bowie mentions Crowley in the lyrics of ‘Quicksand’, featured in his 1971 record Hunky Dory :   I’m closer to the Golden Dawn Immersed in Crowley’s uniform Of Imagery.    Another reference to Crowley can be found in Sly and the Family Stone song “Everybody is a Star” where they quote one of the opening lines of The Book of The Law – “ Every man and every woman is a star .” Iron Maiden’s song “Moonchild” from their 1988 album Seventh Son of a Seventh Son  is based on Crowley’s novel with the same name and one of their famous songs “The Number of the Beast”, might allude to The Beast himself.  Over and above, lead singer Bruce Dickinson is the script writer to a tongue-in-cheek horror film, Chemical Wedding (2008), in which the occultist is reincarnated through a modern-day Cambridge professor.  Some of Bruce Dickinson’s songs from his fifth solo album The Chemical Wedding (1998) feature in the movie.  There are songs from this album that are also inspired by Crowley.    Celtic Frost’s classic “To Mega Therion” (1985) might refer to one of Crowley’s pseudonyms “The Great Beast”, in Greek.  Their song “Os Absmi vel Daath” is influenced by Crowley’s writings.  Another reference can be found in Marilyn Manson’s “Misery Machine’, during which he sings “ down Highway 666 …… to the Abbey of Thelema. ”       A track by Ministry, “Golden Dawn”, from their album The   Land of Rape and Honey (1988), makes reference to the British-based occult society, Hermetic Order of the Golden Dawn, from which Crowley was booted out for his excesses.    The Beast’s spiritual philosophy is also reflected in Behemoth’s “O Father, O Satan, O Sun” (2014).   Exhorder’s “The Law” (1992), starts off with Crowley’s maxim “Do what thou wilt shall be whole of the law.”  The same verse is cited in Mercyful Fate’s “The Oath”, from their 1984 album Don’t Break the Oath.      Samael, cite Crowley’s poem “The Titanic”, as part of the lyrics for their song “Crown” (1994) – “ A crown of thorns is still a crown. ” Conclusion This is by no means an exhaustive list of songs and/or bands that were influenced by British occultist Aleister Crowley and his spiritual philosophy.  He who is proclaimed as a blasphemer by most, stands as a model of rebellion against the established norms - and is that not what Metal music stands for?  No wonder The Beast, through his deeds and philosophy, still holds court in the realm of the darkest music of all.

B E R N E 789 For fans of: London Grammar, Art School Girlfriend, The xx, RY X and Björk Earth-pop duo Berne  release debut album 789 on October 31 .  789 , which represents the number of extinct species  in the last 400 years, is a creative expression of how we as humans interact with the planet, animals, and each other.   Tracklist: Lunar Spectacle (4:47) Language (6:33) Waves (5:43) You Never Get Enough (4:08) Hurt (6:38) Lost My Skin (3:55) Berne is recognised as  EU Climate Pact Ambassador for Malta . Berne explain: “We are thrilled to be sharing 789, a body of work that has taken us on an exploration of sound and mind during a couple of really difficult years for the world. There’s pain, frustration, sadness, anger, hopelessness, and hiding; but we hope that knowing that none of us are alone in dealing with this provides some refuge.”   All tracks are co-written with The Earth  via EarthPercent , raising funds by diverting a portion of royalties to environmental organizations. All tracks were recorded and produced by Berne. Tracks 1-4 & 6 were mixed by Shuta Shinoda; Track 5 was mixed by Joy Stacey. All tracks were mastered by Cicely Balston. Saxophone on Language was performed by Wesley Frankel. “A duo addressing injustice through music and beyond.” BBC Introducing   “'Language' is a firm reminder of just how awe-inspiring they can be. Fresh and immersive at every turn, Berne already sound like they are entering the next phase within their musical evolution to date.” Lock Magazine Contact Berne on soundslikeberne@gmail.com . SoundCloud Website Instagram

Tony Carr, born George Caruana in Valletta, Malta in 1927, is a retired drummer and percussionist whose contributions to jazz and popular music have left an indelible mark on both the Maltese and international music scenes. After emigrating to the UK in 1952, Carr went on to work with some of the biggest names in music, including Ella Fitzgerald, Paul McCartney, and Sixto Rodriguez. Despite his immense contributions, much of his legacy remains underappreciated—until now. A new documentary titled Strait Street to Abbey Road premiered on October 10, 2024, at Spazju Kreattiv Cinema in Malta, shedding light on Carr’s remarkable journey. Produced by the Maltese cultural platform Sugu, this film aims to preserve Carr's legacy while celebrating the vibrant history of jazz in Malta. The documentary was produced by an accomplished team, including drummer Ġuże Camilleri, filmmaker Cedric Vella, and sound engineer David Vella from Temple Studios. Together, they present the untold story of Tony Carr, a Maltese musical pioneer. A Lifetime in Rhythm Tony Carr's journey to prominence began during World War II when, as a teenager, he found himself immersed in Malta's jazz scene, forming one of Malta's earliest jazz trios. Playing in Valletta’s iconic Strait Street—a hub for musicians and Allied troops—Carr honed his craft. He was particularly inspired by African American jazz musicians who found themselves stranded in Malta during the war. By 1952, Carr had decided to leave Malta for London, where the opportunities in jazz and popular music were far greater. His perseverance and talent eventually paid off when he caught the attention of American jazz-pop singer and bandleader Billy Eckstine, who invited him on a European tour in 1954. This was a pivotal moment in Carr's career, establishing him as one of London’s most in-demand session drummers. From the 1960s through the early 1980s, Carr worked with a long list of musical legends. John Cameron, a jazz and pop pianist, conductor, and arranger, consistently hired Carr for studio sessions. His impeccable timing, versatility, and ability to blend seamlessly with different styles made him a go-to drummer for artists such as Ella Fitzgerald, Sixto Rodriguez, and Paul McCartney. One of Carr’s career highlights includes his involvement in the recording of Wings’ 1979 album Back to the Egg. Carr contributed to the celebrated “Rockestra Theme,” recorded with an all-star lineup including John Bonham of Led Zeppelin and Pete Townshend of The Who. Carr’s Legacy and Maltese Jazz While Tony Carr made his name abroad, he never lost touch with his roots in Malta. Throughout his career, Carr played alongside renowned Maltese musicians such as Frank Bibi Camilleri, Joe Curmi, Juice Wilson, and Sammy Galea. These collaborations reflected his deep connection to his homeland and its developing music scene. Yet despite his accomplishments, Carr's story has been largely forgotten, particularly in his native Malta. This lack of recognition is something the new documentary Strait Street to Abbey Road seeks to correct. The film places Carr at the centre of a broader exploration of Malta’s early jazz scene, featuring interviews with key figures in the Maltese music world. As producer and researcher Ġuże Camilleri explained, the documentary also aims to rectify the "broken history" of Maltese jazz, which has not received the documentation or recognition it deserves. In a rare interview, Carr reflects on his career and the challenges he faced as a Maltese musician in London’s fiercely competitive scene. His story is one of perseverance and quiet triumph, a testament to the determination required to break through in an industry that has often overlooked contributions from smaller nations like Malta. A Documentary for Future Generations The documentary premiere marks the culmination of months of research by Camilleri, whose passion for preserving Maltese music history has driven the project. In addition to Carr, the film highlights other influential figures in Malta's jazz scene, such as American multi-instrumentalist Juice Wilson, who settled in Malta in the 1940s, and saxophonist Sammy Murgo Camilleri's research, which began in 2015 with the objective to be developed as a documentary, was supported by Arts Council Malta and adapted for the screen by filmmaker Cedric Vella. Together with music producer David Vella, they have created a vivid portrayal of Carr’s life and career, presenting not only his journey but also a cultural history of Maltese jazz. Samuel Attard, took care of the mixing and mastering of the sound, while Jimmy Grima, handled the illustrations. The documentary is a testament to Carr's significant yet understated contributions to music, both locally and internationally. For audiences in Malta, Strait Street to Abbey Road offers an invaluable glimpse into the island’s rich musical past, inspiring a new generation of musicians and music lovers. As Tony Carr turns 97 later this month, the film serves as a long-overdue tribute to his enduring influence and a reminder of the profound impact that Maltese musicians have had on the global stage. An additional screening of the documentary will take place on the 5th of November. Bibliography : Times of Malta M3P.com (Malta Music Memory Project) Rate Your Music. "Tony Carr: Discography and Collaborations" Camilleri, Ġużè, Maltese Dummer and Percussionist George Caruana (aka Tony Carr) Career, Musical Styles and Adaptability Camilleri, Ġużè, Anecdotes of Maltese Early Jazz (Vinyl) Photos: Ġużè Camilleri

New Drummer, New Energy, and a New Chapter Ahead! After three months of intensive efforts, we regret to announce that we have been unable to recover access to our official Facebook page, which was hacked earlier this year. Despite exploring every option, we’ve had no luck in regaining control. While we may have lost one platform, our commitment to keeping you connected is stronger than ever, and we’re moving forward with exciting updates and new ways to engage with us. As some of you may know, our brother Steve has recently retired from drumming. We extend our deepest gratitude to him for his years of dedication to ClubMurder, our other shared bands, and for the lifelong bond we formed along this incredible musical journey. Together, we’ve shared moments of both challenge and triumph, and as one chapter closes, we want to wish Steve all the best in his next adventure. Steve, thank you for the unforgettable years of friendship and music—you’ll always be part of the ClubMurder family. However, this is not the end but the beginning of an exhilarating new era for ClubMurder! We are thrilled to introduce Victor Hugo (Halcyon) as the powerhouse driving our new sound forward. After six intense weeks of rehearsals, Victor has reignited our passion, bringing new fire to our performances and pushing us to deliver our hardest-hitting live shows yet. We’re back, and we’re more excited than ever to return to the stage and reconnect with you all. Join us for The Unholy Final Chapter of the Halloween Massacre  this Saturday at The Garage —it’s going to be an unforgettable night. This performance marks the start of a new chapter, and we can’t wait to share what’s next. In the coming weeks, stay tuned for a host of announcements, including the release of our upcoming EP, fresh merch, new gig dates, and more on Victor’s official role as ClubMurder’s drummer. To all of our fans, thank you for your incredible support as we evolve, rebuild, and come back stronger than ever. We’re eager to share this journey with you and look forward to seeing you out on the road soon! For additional information, updates, and the latest news, connect with us on our website and other social channels. Press Contact: ClubMurderEmail: press@clubmurderofficial.com Website: www.clubmurderofficial.com

In June, an article titled " Rokarja AST: The Heartbeat of Malta's Rock Revolution " highlighted the 1980s cultural revival centred around the Tigné promontory in Sliema. At the heart of this resurgence stood St. Luke's Garrison Chapel—better known as Tigné Chapel—where the vibrant energy of Malta's burgeoning rock scene and artistic community found a home. This historic chapel, once a spiritual haven for British servicemen, became a beacon of Malta's cultural evolution, especially during the 1980s, when it hosted a variety of performances, concerts, and social events. Its fascinating transformation over the years reflects the intertwined history of religious devotion, military presence, and artistic expression. From Military Chapel to Cultural Nexus Tigné Chapel, originally named St. Luke's Garrison Chapel, was constructed in response to the growing British military community in Sliema. The need for an Anglican place of worship at Tigné was keenly felt at the beginning of the 20th century as the area around Fort Tigné expanded. In 1910, plans for the chapel were drawn by Lieutenant Colonel Hemming of the Royal Engineers, with its foundation stone laid on January 16 of that year by Sir Leslie Rundle, the Governor of Malta. The chapel was completed within months, and the first service was held on November 27, 1910. Bishop William Edward Collins of Gibraltar performed the dedication. Built to accommodate 400 worshippers, the chapel was not only a place of worship but also a hub for military and local activities, including Sunday schools and support groups. The chapel's prominence grew, particularly during the interwar years, when it became a focal point of community support, offering respite and comfort to the distressed. Architectural Significance St. Luke’s Garrison Chapel was designed with careful attention to detail, making it both practical and beautiful. Its design included three entrances and a spacious interior that featured a chancel, two aisles, a nave, an organ, and a vestry. The altar, a striking piece of craftsmanship, was decorated with Corinthian-style pillars and Maltese crosses, with its floor adorned in red tiles and white marble steps. Over the years, the chapel was enhanced by various gifts from the congregation, including a stone memorial pulpit and a brass cross dedicated to Colonel H.T. Hughes Hallett. However, during World War II, the chapel suffered significant damage from bombings, forcing the congregation to relocate to nearby Holy Trinity Church. Despite these setbacks, the chapel survived and continued to serve the military community until the British forces left Malta in 1979, after which it was abandoned and fell into disrepair. Tigné Chapel in the 1980s: A Cultural Renaissance In the 1980s, Tigné Chapel experienced a resurgence, not as a place of worship, but as a cultural and artistic venue. The Assoċjazzjoni Sportiva Tigne (AST), a local association, began using the chapel for meetings and cultural events. Most notably, it became the home of Rokarja AST, a key player in Malta's rock music revolution. Bands like Rokarja AST used the chapel as a venue for concerts, bringing a new energy to the historic site. Alongside rock concerts, the chapel also hosted theatrical performances, making it a hub of creativity and artistic expression during this period. This period marked a stark contrast to its previous life as a military chapel, with its halls now filled with the sounds of electric guitars and theatrical dialogue rather than hymns and prayers. The venue also attracted other cultural activities, such as Tai Chi classes and ballroom dancing sessions in the early 1990s. These events gave new life to the abandoned chapel, turning it into a focal point for alternative culture in Malta. Restoration and Preservation In 2001, the Tigné Chapel was included in a broader restoration project undertaken by MIDI plc, a private company responsible for the rehabilitation of several historic sites on the Tigné peninsula and Manoel Island. The restoration work on the chapel, completed by 2019, was part of a €21 million project aimed at preserving Malta’s architectural heritage. Fort Tigné, the Garden Battery, and other nearby sites were also restored. The chapel’s exterior and interior were carefully conserved, with special attention given to maintaining its historical features, such as the original floor tiles and the Corinthian-style pillars. Although the building no longer functions as a church, it now serves as the headquarters of an international aviation company, ensuring its continued use while preserving its historical significance. A Legacy Preserved The restoration of Tigné Chapel is part of a wider effort to preserve Malta’s historical buildings, particularly those tied to its military past. Along with Fort Tigné and the surrounding batteries, the chapel forms a vital part of Malta’s rich heritage, offering a tangible connection to both its colonial and post-colonial history. The extensive rehabilitation of these sites, especially Fort Manoel, reflects a commitment to ensuring that these architectural treasures remain part of Malta’s living history for generations to come. Today, while the chapel no longer hosts rock concerts or cultural events, its walls continue to resonate with the stories of those who once gathered within. Tigné Chapel's journey—from a military place of worship to a vibrant cultural hub, and now a restored historical site—captures the essence of Malta’s evolving identity, blending its past with its present. Bibliography M3P.com . Tigné Chapel: The Heartbeat of Malta’s Rock Revolution. Times of Malta, 28 March 2020. After 18 Years, Tigné Point and Manoel Island Restoration Projects Completed . Wikipedia contributors. St. Luke's Garrison Chapel (Tigné Barracks), Wikipedia.

FERRET Release ‘For The Love Of Pizza’ Ferret’s EP, ‘For The Love Of Pizza’, is a flavourful tribute to the bond the band shares over food, reflecting how their unique influences blend together to create their distinctive sound. The title pays homage to what drives and inspires the band, likening their creative process to crafting the perfect pizza—where each member adds their own "toppings" to the base of Ferret’s core sound. This instrumental EP showcases their ability to craft engaging music that stands strong without vocals, featuring dynamic peaks, valleys, and climaxes. Tracks like ‘Cheeki Breeki’ playfully evoke cartoon chases reminiscent of Tom and Jerry, while ‘Big Machine’ depicts a machine's gradual breakdown and ‘Galactose Intolerant’ humorously explores IBS in space. Drawing from a rich palette of influences—from the playful vibe of The Aristocrats and modern prog fusion bands like Plini and Intervals, to classic prog icons such as Genesis — Ferret infuses their music with a mix of jazz funk, progressive elements, and inventive twists. Ferret have been cooking up their unique blend of prog rock since 2016, and currently dishing out sonic goodness with Anthony on guitar, Mark Andrew on drums and Owen on bass. Known for their energetic live shows, Ferret first hit the stage at Sickfest 2016, where they served up their signature sound. Their flavorful performances continued at events like Prog the Islands, Rock the South, and Farsons Beerfest, each gig a feast for the ears. In 2019, Ferret had the opportunity to support Dream Theater, showcasing their ability to hold their own alongside one of the genre's greats. With a sound that combines heavy riffs, intricate rhythms, and a pinch of improvisation, Ferret has solidified their place in the local music scene. Whether they're cooking in the studio or serving it on stage, Ferret is a band that knows how to keep their audience coming back for seconds. After a brief hiatus due to the pandemic, Ferret reunited in 2022, simmering their old recipes and cooking up new ones. Now, with a flavourful EP on the horizon, they're ready to serve the world once again! STREAM HERE Copyright (C) 2024 Kewn Records. All rights reserved

Heavy Metal, in most of its sub-genres, is a rebellious brand of music and often the imagery used for band logos and album artwork reflects this mentality.  Pentagrams, inverted crosses and such symbols are frequently in use.   As Ian Christe, author of Sound of the Beast: The Complete Headbanging History of Heavy Metal says, “Heavy metal design is not a monolithic form at all. You have everything from junior high school kids in Iowa drawing skulls and pentagrams and band logos to Norwegian design houses making skulls and pentagrams and band logos. There are all levels of sophistication and intention—and execution.”   Today I wanted to focus specifically on the image of Baphomet, whom many associate with Satan or Lucifer, which is not the case.      Baphomet and the Knights Templar – The Origins The first written reference to Baphomet appeared in a letter by French Crusader Anselm of Ribenmont, who was writing during the siege of Antioch during July 1098:   As the next day dawned, they [i.e. the inhabitants of Antioch] called loudly upon Baphometh; and we prayed silently in our hearts to God, then we attacked and forced all of them outside the city walls.   Most probably what Anselm of Ribenmont heared the Antiochians shouting was Muhammad, which he mistook for Baphometh.  He was not the only to make the association.  Raymond of Aguliers, who chronicled the First Crusade (1096 – 1099), reports that troubadours used the term Bafomet as a substitute for Muhammad and Bafumaria instead of mosque.  The troubadour Gavaudan, around 1195, uses the name Bafometz in the Provencal poems Senhors, per los nostres peccatz .  Another clear substitution of Bafomet for Muhammad can be found in another Provencal poem, penned by Austorc d’Aorlhac around 1250, lamenting the defeat of the Seventh Crusade (1248-1254).  There are other references which I will not be going into.   Baphomet came to the forefront when King Philip IV of France, with the blessing of Pope Clemet V, arrested and put to torture the Knights Templar.  It all was coordinated to happen on Friday, October 13th, 1307, giving the day such a dark connotation.  Over 100 different charges had been leveled against the Templars including heresy, homosexual relations, degrading the cross and sodomy.  The Knights Templars had amassed huge riches since their humble beginnings and some historians are of the opinion that the King of France, greatly in debt, was after their money to finance his battles.  The history of the Knights Templar is very interesting, but it would take a shelve of books to scratch the surface.   Under torture one will say anything to make the pain stop.  The name Baphomet came up in several confessions obtained from the Knights Templar.  The confessors, administering torture, tried their best to obtain information as regards the Templars’ secret initiation ceremony and their alleged worship of a heathen idol-head known as Baphomet.  Whilst some Templars denied any knowledge, others described it as a head with three faces or a severed head of a cat.  The claim of worshipping and idol under the name of Baphomet were unique to the inquisition of the Knights Templar.    Thomas Wright, in The Worship of the Generative Powers  (1856), writes:        “Gauserand de Montpesant, a knight of Provence, said that their superior showed him an idol made in the form of Baffomet; another, named Raymond Rubei, described it as a wooden head, on which the figure of Baphomet was painted, and adds, "that he worshipped it by kissing its feet, and exclaiming, 'Yalla', which was", he says, "Verbum Saracenorum", a word taken from the Saracens. A Templar of Florence declared that, in the secret chapters of the order, one brother said to the other, showing the idol, "Adore this head—this head is your god and your Mahomet."   It might be that the reference to Baphomet in the charges has more to do to apostasy to Islam, than to Satanism, in the case of the Templars.  Some of the Templar members were absolved and integrated in other orders, whilst some were not so lucky and burned at the stake.  The most prominent being their Grand Master Jacques De Molay and the Preceptor of Normandy Geoffroi de Charney, who recanted their confessions but nevertheless, on insistence of King Philip IV, were put to the flames in Paris on March 1314.  This was not the end of the Templars, their legend lives on and until this very day their name is mentioned in many a tale of conspiracy.   The 19th century   During the occult revival of the 19th century, Baphomet came into prominence again during debate on the reasons for the suppression of the Knights Templar.  It was common belief amongst Medieval Christians that Muslims were idolatrous and worshipped Muhammad as a god Mammet, a corruption of Mahomet, took the meaning of idol or false god in English).    Within “Symbols and Symbolism”, published as part of Freemasons’ Quarterly Magazine (1854), the anonymous author writes:   “ What properly was the sign of the Baffomet, "Figura Baffometi", which was depicted on the breast of the bust representing the Creator, cannot be exactly determined ... I believe it to have been the Pythagorean pentagon (Fünfeck) of health and prosperity: ... It is well known how holy this figure was considered, and that the Gnostics had much in common with the Pythagoreans. From the prayers which the soul shall recite, according to the diagram of the Ophite-worshippers, when they on their return to God are stopped by the Archons, and their purity has to be examined, it appears that these serpent-worshippers believed they must produce a token that they had been clean on earth. I believe that this token was also the holy pentagon, the sign of their initiation (τελειας βαφης μετεος).”      Other scholars who contributed to this debate were Émile Littré (1801–1881) and Hugh J. Schonfield (1901–1988).  In 1818, the Viennese Orientalist Joseph Freiherr von Hammer-Purgstall, mentions Baphomet in the elaborate essay "Discovery of the Mystery of Baphomet, by which the Knights Templars, like the Gnostics and Ophites, are convicted of Apostasy, of Idolatry and of moral Impurity, by their own Monuments".   Éliphas Lévi and the image we are familiar with. Alphonse Louis Constant was born on 8 February 1810 in Paris, France.  He was an esotericist, poet and writer.  After pursuing an ecclesiastical career in the Catholic Church, he became disillusioned and in his mid-twenties and left the Church to become a ceremonial magician.  Aged 40, he began professing a knowledge of the occult and wrote over twenty books on magic, Kabbalah, alchemical studies and occultism under the pen name of Éliphas Lévi, an anagram of his given names Alphonse Louis into Hebrew.  I am not going through his life and works as that would require much more space that one would imagine.   Éliphas Lévi is responsible with further associating Baphomet with the occult as in his book Dogme et Rituel de la Haute Magie (Dogma and Rituals of High Magic), published in two volumes (Dogma 1854, Ritual 1856), he included an image, drawn by himself, which he described as Bophomet and “The Sabbatic Goat.”   This image became the best known representation of Baphomet.  But what did the author himself had to say about the symbolism he was trying to convey? “ The goat on the frontispiece carries the sign of the pentagram on the forehead, with one point at the top, a symbol of light, his two hands forming the sign of occultism, the one pointing up to the white moon of Chesed, the other pointing down to the black one of Geburah. This sign expresses the perfect harmony of mercy with justice. His one arm is female, the other male like the ones of the androgyne of Khunrath, the attributes of which we had to unite with those of our goat because he is one and the same symbol. The flame of intelligence shining between his horns is the magic light of the universal balance, the image of the soul elevated above matter, as the flame, whilst being tied to matter, shines above it. The beast's head expresses the horror of the sinner, whose materially acting, solely responsible part has to bear the punishment exclusively; the soul is insensitive according to its nature and can only suffer when it materializes. The rod standing instead of genitals symbolizes eternal life, the body covered with scales: the water, the semi-circle above it: the atmosphere, the feathers following above: the volatile. Humanity is represented by the two breasts and the androgyne arms of this sphinx of the occult sciences .”   — Éliphas Lévi, Dogme et rituel de la haute magie   Once again, as explained by the author himself, the image has nothing to do with Satanism, yet the Catholic Church gave it that association through its crusade against anything that goes against it’s dogma.  Rock and heavy metal received their fair share throughout the years.    Association with witchcraft and the Devil Lévi believed that what witches were worshipping during their sabbaths during the middle ages, was not the devil, but a perpetuation of ancient pagan rites.  Since the dawn of time, male goats were held in reverence by many cultures but this image was morphed to represent the devil or Lucifer by the Catholic Church.  Anything pagan or with association to the occult was deemed to be Satanic and thus must be destroyed.  The campaigns of the Catholic Church and its associates on pagans, heretics, witches, people of different sexual orientation etc, requires a book of encyclopedic proportions.  To be fair, the Catholic Church has distanced itself from such persecutions and admitted the wrongdoings, but some battles are still being fought.      Baphomet and Heavy Metal Let’s call a spade a spade.  There are sub-genres of metal that propagate Satanism but most prominent bands that were accused of having this association are innocent of all charges.  Artwork associated with metal records is associated with the shock factor and images related to the occult, monsters and gore are not rare.  This does not mean that the band is Satanic.  For the sake of this article, I am not focusing on the history of the use of such imagery as album cover artwork, as that would take ages.  I have limited myself to choosing a few artworks depicting image of Baphomet or works inspired by this figure.    From the middle ages to our time, for different rhymes and reasons, the goat still rules supreme. Albums Angel Witch (Apart from adopting Baphomet as part of their logo, they used the image on Flight Nineteen demo) - 1980 References: Baphomet  (Wikipedia) Knights Templar  (Wikipedia) Thomas Wright, The Worship of the Generative Powers  (1856) Ian Christe, Sound of the Beast: The Complete Headbanging History of Heavy Metal  (2004) Éliphas Lévi  (Wikipedia)

Winter Moods, a cornerstone of Maltese rock, was formed in the mid-1980s and has since become one of the island's most revered bands. Over the past three decades, the group has produced five acclaimed albums and achieved record-breaking attendance at two monumental concerts, solidifying their place as a household name in Maltese music. Winter Moods emerged from humble beginnings, born out of jam sessions in a garage in Senglea during the cold, grey days of the mid-1980s. The band was founded by bassist Joseph Rizzo, guitarist Steve Caruana Smith and singer was Jesmond Attard, who was later replaced by a young Ivan Grech. The melancholic atmosphere of their early practice sessions inspired the name "Winter Moods," reflecting the mood they sought to convey through their music. Mark Doneo, the singer of Dream Valley, was asked to lead the band's emerging lineup after original vocalist Ivan Grech emigrated to Australia in 1987. This opportunity thrust Doneo into the spotlight, establishing him as one of the country's top rock singers. Unfortunately, the band faced a setback when they were invited to perform at an International Rock Festival organized by RAI TV but missed the opportunity due to a misunderstanding. This incident became a turning point for Doneo, who felt disillusioned and chose to leave the band in 1989 to pursue a solo career as a singer-songwriter. He went on to perform at various festivals and venues across the island, including Il-Festival tal-Kanzunetta Maltija and Il-Kanzunetta Maltija għall-Ewropa. Later, when Ivan returned to Malta, he resumed his role as the band's frontman. In their early years, Winter Moods were driven by a relentless passion for music, practicing tirelessly to carve out a space in Malta's vibrant yet competitive music scene. Their original compositions quickly gained a following, setting them apart from other local bands that came and went. The band's momentum began to build in the 1990s with the addition of keyboardist Etienne Robinich. Their first single, "Sarah," became an instant hit and remains one of their most beloved tracks. This success was followed by the release of their self-titled debut album, Winter Moods, in 1996. The album captured the band’s early influences and laid the groundwork for their future success. In 1997, guitarist Melvin Caruana joined the band, completing the lineup that would define Winter Moods’ sound. The turn of the millennium saw the release of their second album, Morning Ale (2000), which included hits like "Jamaica," "Ride," and "Everyday Song." The latter was later awarded the Best Song of All Time by the Bay Music Awards in 2005, a testament to its lasting impact on Maltese music. Winter Moods continued their ascent with the release of Butterfly House in 2003, featuring the hit single "Come To You." The album quickly topped local charts, reinforcing the band’s growing influence. Their fourth album, Ordinary Men (2006), marked a new peak in their career. Featuring the iconic track "Marigold," this album became their best-selling work and is often regarded as their magnum opus. However, the band faced changes during this period as guitarist Steve Caruana Smith and drummer James Vella departed. In 2009, Karl Fenech joined as the new drummer, completing the lineup that would take Winter Moods into their next chapter. The following year, they celebrated their 25th anniversary with the release of their fifth album, Argento (2010). To mark the occasion, Winter Moods held a monumental concert at The Granaries in Floriana on July 30, 2010, drawing over 10,000 fans—the largest crowd ever recorded for a Maltese band at a paying concert. This event broke their previous record set in 2008 when they performed in front of 7,500 people at the Valletta Waterfront. Winter Moods’ reputation extended beyond Malta, leading to performances at various international music festivals. In June 2000, they played at the Belfort Rock Festival in France, and in September 2002, they participated in the National Youth Rock Festival in Cyprus. By July 2003, they were invited to perform at the Hard Rock Café in Rome. Their success continued in 2004 when they won a competition on the German radio station WDR2, earning them a spot at the Ring Fest in Cologne, Germany. Throughout their career, Winter Moods shared the stage with global music icons, including Bryan Adams, Elton John, Roger Hodgson (formerly of Supertramp), Bob Geldof, and Deep Purple. A particularly memorable collaboration occurred when they performed alongside the SAS Band, featuring Queen’s Spike Edney, Paul Young, and Chris Thompson. Ivan Grech even had the opportunity to sing "Crazy Little Thing Called Love" with the band, a highlight in their storied career. Winter Moods also made their mark on the Isle of MTV Malta Special, performing alongside international stars like Maroon 5, Enrique Iglesias, and Akon. In 2007, they supported the CiaO’Scia concert in Malta, featuring Italian legends Claudio Baglioni, Gianni Morandi, and Riccardo Cocciante. Baglioni even joined Winter Moods on stage to sing their hit "Marigold," creating a historic moment in Maltese music. Over the years, Winter Moods have garnered numerous awards, including six Best Band titles at the Malta Music Awards (1997, 2001, 2003, 2007, 2008, 2010). Their iconic song "Marigold" won the Best Song award in 2007, and they received the same honor in 2010 for "My Neverland." Ivan Grech, the band's frontman, was recognized as Best Songwriter in 2007 and 2010. In 2008, Winter Moods received the prestigious Legends Award, marking the first time this honor was bestowed. The Bay Music Awards also recognized the band's significant contribution to Maltese music, awarding them the Icon Award in 2004. In 2005, they won Best Single of the Year for "Closer" and Best Single of All Time for "Everyday Song." Their dominance at the Bay Music Awards continued in 2007, when they took home awards for Best Band, Best Song ("Marigold"), and the Viewers' Choice. The legacy of Winter Moods was marked by a significant loss on October 9, 2012, with the passing of Steve Caruana Smith, one of the band’s founding members. Caruana Smith, who was instrumental in shaping the band's sound and success, passed away at the age of 51. His contributions to Winter Moods spanned two decades, during which he played on four albums— Winter Moods (1995), Morning Ale  (2000), Butterfly House  (2003), and Ordinary Men  (2006)—as well as two EPs, Fool For An Angel  (1998) and Closer (2005). He also performed with the band at major international venues, including in France, Germany, and Italy. In a heartfelt tribute, Winter Moods said, "Steve was a brother to us; he was one of a kind. He was an important part of Winter Moods' history, an icon to many, and loved by everyone who knew him. We will miss him, his music, and his humor. He may be far away, but he will forever remain close to us" Winter Moods' influence on Maltese music is profound and enduring. Their blend of heartfelt lyrics, melodic compositions, and compelling performances has resonated with audiences for decades. The band’s journey from a cold garage in Senglea to performing on international stages is a testament to their talent, dedication, and the strong connection they have with their fans In recent years, lead singer Ivan Grech has explored a solo career, releasing the single "Somebody Like You" in 2019, followed by "(Let’s Get) High On Love" in 2023. Despite these individual pursuits, the legacy of Winter Moods as a band remains unshakeable, their music continuing to inspire both new artists and long-time listeners in Malta and beyond. Bibliography Winter Moods . (n.d.). Winter Moods: Official Website . Retrieved from https://www.wintermoods.net/ . Times of Malta . (2012, October 10). Popular Bands Winter Moods Announced the Passing of Its Former Guitarist Steve Caruana Smith . Retrieved from Times of Malta . Bay Music Awards . (2005). Award for Best Single of All Time . Retrieved from Bay Music Awards Archive. M3P.com .

Released in 1998, Rockomotiv  was the crowning achievement of the Maltese hard rock band Blade, marking a pivotal moment in their 24-year journey. With a rich history rooted in the evolving Maltese music scene, Blade had risen from their early beginnings in Tigné, an area once synonymous with Malta’s thriving rock culture, to become one of the country’s most celebrated acts. Their debut album, Rockomotiv , not only showcased their musical prowess but also encapsulated the band’s resilience and evolution, earning them multiple accolades and cementing their place in Maltese rock history. From Passion Blade to Blade: A Shift in Identity Blade’s origins date back to the early 1980s when they first played under the name Passion Blade, initially known for their fast-paced speed and heavy metal sound. As the years progressed, however, the band began to shift toward a more refined hard rock style. By the mid-1990s, this musical transformation prompted the band to adopt the shorter and sharper name, Blade. This transition marked a new phase in their career, setting the stage for their eventual breakthrough album, Rockomotiv. During their early years as Passion Blade, they contributed original tracks like “Bang or Die,” “Violent Rage,” and “Passion Blade” to the Maltese metal scene, even appearing on notable compilations like Stepping Stones Part Two. These formative years helped solidify their presence on the island, leading to their eventual evolution as Blade, where they became known for their hard rock anthems. Blade’s Rise and the Making of Rockomotiv Blade quickly gained a reputation for their dynamic live performances, often headlining major concerts around the island. Their use of stage props and pyrotechnics brought something new to Maltese audiences, making their shows a must-see. However, as the Tigné music scene began to wane due to pressure on local bands to vacate their rehearsal spaces, Blade remained steadfast in their commitment to music. In fact, they were the last band to leave their rehearsal room in Tigné, a testament to their dedication. During this period, Blade’s lead guitarist, Toni Curmi, left Malta for a couple of years. Although they continued performing with a replacement guitarist, Toni’s eventual return rejuvenated the band, reuniting the original lineup. This comeback was marked by new creative energy, and within months, Blade recorded the track “Faith” for the Eruption compilation. Building on this momentum, they traveled to Blue World Studios in Germany to record their full-length debut album, Rockomotiv. Released under Storm Records, Rockomotiv was an instant success. The album not only resonated with fans but also earned Blade widespread recognition at the 1998 Malta Music Awards, where it won both Best Album and Best Cover. The album’s hard-hitting tracks, including "Burnout," "Breakin' the Ice," and the title track "Rockomotiv," demonstrated Blade’s ability to blend powerful riffs with melodic hooks, embodying the essence of 90s hard rock. International Success and Challenges The success of Rockomotiv opened doors for Blade on the international stage. In 1998, they performed at the FIMU Music Festival in France, playing two live dates in the festival’s Rock Arena. This marked a high point in their career, as Blade brought their Maltese hard rock sound to a wider European audience. However, despite this international recognition, Blade faced difficulties re-integrating into the local Maltese music scene upon their return. Coupled with issues over their rehearsal space, the band decided to take a break after this peak. Reformation and Evolution Despite the hiatus, the members of Blade remained close and eventually rekindled their passion for music. Years later, they reunited with new energy, welcoming Nox Scerri as their new keyboardist, which added a fresh dimension to their sound. Their style naturally evolved, but they stayed true to their hard rock roots. The band also expanded their lineup by recruiting a second guitarist, Matti Zammit, a promising young musician who contributed to Blade’s renewed sense of purpose. However, further changes came in 2009 when long-time vocalist Jez Saliba and bassist Dave Galea chose to part ways with the band. Their departure marked the end of an era, but their contributions to Blade’s legacy were undeniable. In their place, David Lowe stepped in as both the lead vocalist and bassist, continuing the band’s journey into a new chapter. Legacy of Rockomotiv Rockomotiv remains a landmark album in the history of Maltese rock music. Its fusion of hard rock energy with anthemic melodies resonated deeply with fans and critics alike, earning Blade their rightful place among Malta’s top rock bands. The album’s impact extended beyond the local scene, taking Blade to international stages and showing the world what Maltese rock was capable of. Tracks like "Head Over Heels," "Sandy," and "Love is Forever" continue to be celebrated as quintessential examples of Blade’s sound. Although Blade faced challenges and lineup changes over the years, Rockomotiv stands as a lasting testament to their creativity, resilience, and love for rock music. The band’s ability to evolve while staying true to their roots ensured their place in Maltese rock history, and Rockomotiv remains an iconic representation of their journey. Rockomotive Label: Storm Records– STM07 CD / Released: 1998 Track list: 1 Rockomotive 2 Burnout 3 Head Over Heels 4 Sandy 5 Live & Tell 6 Breakin' The Ice 7 Tears 8 In The Fire 9 Lost Souls 10 Back In The Hole 11 Love Is Forever 12 Straight Thru The Heart 13 Ain't Turnin' Back Bibliography M3P.com  – “Blade: Rockomotiv and the Band’s History.” Discogs.com  – “Blade – Rockomotive (1998 Album Details).” The Metal Archives  – “Passion Blade and the Stepping Stones Compilation.”