The Festahwid  compilations, released by Reciprocal Records, stand as enduring tributes to Malta’s gritty and passionate underground punk scene. Capturing the anarchic energy of a festival born from necessity and nurtured with community spirit, both compilation albums document a vibrant era of DIY ethos, garage-born bands, and beer-fueled stage dives. Front and back cover of cd sleeve Festahwid Compilation 2002 – It-Taħwid Ikompli The first compilation, Festahwid Compilation 2002 – It-Taħwid Ikompli , was recorded during the fourth edition of the Festahwid festival at Strings Nightclub. “Malta may be isolated and far away from the rest of the world,” reads the sleeve note by Reciprocal Records, “but this compilation proves that we have the capability to say something through our music.” The origins of Festahwid trace back to the late 1990s, when punk organizer JP iz-Zghiru and his peers searched for venues to host punk gigs. “At that time I was part of a team who convinced the owner of Dempsey's in Bugibba to open a rock club,” JP explained. “The Edge was then opened and from there I began organising concerts… I came up with the name Festahwid while discussing the idea with friends. The rest is Maltese punk rock history!” inlay of cd sleeve Festahwid Compilation 2002 – It-Taħwid Ikompli featuring the bands The first compilation featured 22 tracks from 11 bands, all contributing raw and unpolished recordings from the 2002 festival. The album reflected the community’s DIY spirit: “No debts and absolutely no profits. We always used our own equipment… with the party and beer drinking starting at soundchecks.” JP thanked the numerous volunteers who helped, including Matthew in-Nofxu, Chris il-Profeta, and Ray il-Bahri. He added, “If it wasn’t for you (the crew), we’d stay in the garage!” back cover of  Festahwid Compilation 2002 – It-Taħwid Ikompli The featured bands on the first compilation included Disobedience with “Decide” and “Welcome To Babylon”, Vegetables with “Bebbuxu Malinju” and “Hu Dan Il-Maktur Mimli Mahta”, Rakk with “Is-Soluzzjoni” and “No Future”, Subculture with “Bullets” and “Black-White-Yellow-Red”, Totema with “S.O.M.B.” and “Promoting Confusion”, Migraine with “Midnight Express” and “Profitable Loss”, Batteries Not Included with “Inertia” and “Civilisation”, The Abjects with “Sentenced To Live” and “Murderous Technology”, Mass Debate with “Lock” and “Playing With Fire”, The I Skandal with “Raguni” and “Reason And Confusion”, and Rage Against Society with “March Of The Anarchist” and “Anger = Energy.” front cover of Festahwid Compilation 2 Two years later came Festahwid 2 , recorded during the sixth edition of the festival. Writing for The Malta Independent  in 2006, Michael Bugeja called it “verbally ‘colourful’ and explicitly freewheeling,” capturing the unfiltered attitude of the event. The album featured 18 tracks and underscored a significant rise in Maltese-language punk. Acts like Vixaw, Delli Wah Du, BNI, Dripht, The I-Skandal, and Xtruppaw exemplified this wave, while spoken-word punk and satirical lyricism became staples of the scene. Reciprocal Records expressed their gratitude on the CD sleeve: “The first Festahwid Compilation  release was the spark that ignited the scene. backprint of Festahwid Compilation 2 insert showing bands and songs on compilation With over 200 copies sold, the CD was greatly appreciated for what it stood for… Now the bands got together once again, and with the help of Hell Next Door Studio, this compilation is finally complete.” They added, “So strong is the drive, bands have started off just to play in the festival, but obviously once started, there’s no stopping them.” They thanked Signals Bar, Steve ‘Lombardo’ Attard, Ray il-Bahri, and designers Jeffrey Galea and Marco Borg for their support. The artwork and sleeve design played a key role in promoting the festival’s sixth edition. “Woody’s raw and spontaneous performance of the event’s unofficial anthem,” wrote Bugeja, “captures the mood perfectly.” inner sleeve Festahwid Compilation 2 showing the bands on the compilation Festahwid VI poster Although the Festahwid festival ended after nine editions, the compilations remain powerful time capsules. They reflect the spirit of rebellion, collaboration, and artistic freedom that defined Malta’s punk scene in the early 2000s. “Recommended for those who still hold the spirit of punk dear to their heart,” Bugeja concluded. Bibliography: Il-Mument - 6th November 2011 Festahwid 2 Album Review  - Michael Bugeja, The Malta Independent , 21 June 2006 Special thanks to David Cauchi for all the help!

In 1988, Maltese television audiences were introduced to a new form of entertainment that combined sharp political satire, parody, and music. The programme Aħn' Aħna jew m'Aħniex? , produced by Peppi Azzopardi, Joe Camilleri, Joe Debono and Joe Saliba, was considered a breakthrough in Maltese broadcasting. It presented news satire, candid camera sketches, and topical commentary, breaking away from the traditional formats of Maltese TV. The show quickly became a cultural phenomenon, not least because of its regular musical contributors: the band Brown Rice. Brown Rice, a collective of talented musicians and performers including Vince Fabri, Brian Muscat, Daniel Muscat, John Mallia, Joe Debono (RIP), Wilfred Kenely, Paul Mintoff, Jesmond Sharples, Christabelle Scerri, Angele Gouder, Cecilia Testa, Nestru Camilleri (RIP), Doreen Agius Cutajar, Joan Bugeja, and Christine Scerri, was central to the programme's success. Their witty lyrics, biting commentary, and energetic performances mirrored the irreverence of the show itself. As Vince Fabri later reflected, satire was about “holding up a mirror to society” (Independent, 2022). One of the most memorable moments came during the Premju Nazzjonali Ħaddiema tas-Sena —the Worker of the Year Award—held at Sala Sir Temi Żammit, University of Malta, in November 1988. At this event, Brown Rice performed alongside Brown Rice Junior , a younger offshoot of the group that had been formed through the TV programme itself. The younger ensemble featured Pawlu Borg Bonaci, Marvin Zammit, David Micallef, Sandro Debono, Sandro Gatt, Mark Pace, Angelica Coppini, Francesca Briffa (née Coppini), Andromeda Booth (Saliba), Vanessa Saliba, Christian Azzopardi, and Kenneth. Together, the two groups offered a unique intergenerational performance, remembered today as a landmark in Maltese entertainment history. The award ceremony itself was historic, as it was the inaugural edition of the Premju Nazzjonali Ħaddiema tas-Sena . That year, the award went to Martin Grasso, but it was the performance by Brown Rice and Brown Rice Junior that left a cultural imprint. The clip , believed to have been filmed on Friday 25th November 1988, captures the vibrant energy of the era and the innovative spirit of the programme ( Soundcloud: Vince Fabri ). Brown Rice Junior  went on to tour and perform live at several local festivities, further cementing its popularity. Many of its members have since remained active in Malta’s expressive, dramatic, and visual arts scenes. This continuation of artistic engagement underscores the programme’s lasting influence on Malta’s cultural landscape. Brown Rice’s popularity extended beyond the TV screen. Around the same time, several of the songs performed on the show were released on cassette under the title Aħn' Aħna Jew M’Aħniex? . The collection included tracks such as “Inħarsu l-Ambjent,” “Nibnu Darna,” “Parla Parla Parlament,” “Maskri Maskri,” “Ħajja Twila,” and “Tgħallem Idħaq,” among others. Music was composed by Vince Fabri, with lyrics by Fabri, Joe Saliba, and Joe Azzopardi. The recording was handled by Tony Scott, while the cover design was created by Aldo Gatt. This release ensured that the sharp wit and memorable tunes of Brown Rice reached audiences beyond the weekly broadcast, solidifying their place in Maltese musical history. The legacy of Aħn' Aħna jew m’Aħniex?  is still discussed today. The Times of Malta once noted the significance of the show in shaping a generation of viewers who became more accustomed to political satire and self-reflection (Times of Malta, 2019). MaltaToday, looking back at the cultural shifts of the late 1980s, described it as a bold departure that “challenged the boundaries of what could be said—and sung—on national television” (MaltaToday, 2002). At the centre of this creative storm was Vince Fabri, lyricist and performer, whose body of work continues to influence Maltese artistic expression. His reflections and songs, including those collected and uploaded on Soundcloud , keep alive the spirit of Aħn' Aħna jew m’Aħniex?  and the irreverent humour of Brown Rice. The programme and its musical collaborators helped redefine Maltese entertainment, showing that satire, parody, and music could combine to reflect society’s truths. As Fabri himself once noted in an interview, “the role of the artist is to disturb the comfortable and comfort the disturbed” (Oocities, Ramona Depares). In this sense, Brown Rice , Brown Rice Junior , and Aħn' Aħna jew m’Aħniex?  did not just entertain—they reshaped the cultural narrative of Malta in the late 20th century.

The heavy sounds of Stoner Doom Metal will descend upon The Garage on August 30 as Reeferfest celebrates its milestone fifth anniversary. The one-night festival, supported by Festivals Malta, promises an unmissable lineup of crushing riffs, psychedelic grooves, and underground spirit. “This year’s edition is going to be massive,” said event organisers. “We’ve got mammoths heading our way – both metaphorically and sonically – and we’re ready to make the ground shake.” The bill features Malta’s own Rankin  and Hemplifier , alongside Greece’s fuzz-laden titans Acid Mammoth  and Italian legends UFOMAMMUT . Between sets, DJ Noel Mifsud will keep the atmosphere alive, while visual art from Maria Baldacchino  will add a creative dimension to the night. Attendees will also find stalls from sponsors Sigritwal  and Kewn Records , plus exclusive band merchandise. Rankin , formed in 2018, has swiftly risen in the Maltese scene with their filthy, bluesy groove-metal infused with sludge, thrash, prog, and alternative metal influences. Their debut album Chrysalis  (2022) showcased dynamic range, heavy grooves, and cemented their place as one of Malta’s most exciting metal acts. Hemplifier , a Stoner/Doom trio from Malta, formed in 2019 and features veterans Emanuel Portelli (guitar & vocals), Alfred Burd (bass), and Dino Mifsud Lepre (drums & samples). Their debut album The Stoner Side of The Doom , released in June 2023 via Electric Valley Records, channels sci-fi, supernatural, occult, and local folklore themes, driven by a deep appreciation for vintage gear and heavy riffs. Acid Mammoth , hailing from Athens and formed in 2015 by high school friends Chris Babalis Jr. (vocals/guitar) and Dimosthenis Varikos (bass), later joined by Marios Louvaris (drums) and Chris Babalis Sr. (guitar), are known for their soaring, fuzzy, psychedelic doom rooted in Sabbathian tradition. After signing with Heavy Psych Sounds in 2019, their albums—including Under Acid Hoof  (2020) and Supersonic Megafauna Collision  (2023)—have earned critical acclaim for their crushing riffs, hypnotic vocals, and unrelenting heaviness. UFOMAMMUT , the legendary Italian psychedelic doom trio from Tortona, Italy, have been active since 1999. Founded by Poia (guitar/effects), Urlo (bass/vocals/synths), and original drummer Vita (2000–2020), the band has crafted a unique sound blending droning vocals, massive effects, and cosmic visual art. Now back with drummer Levre (since 2021), they recently celebrated their 25th anniversary and released their tenth full-length album, Hidden , in May 2024—cementing their status as pioneers of psychedelic sludge. In a statement, organisers emphasised the importance of community: “Your presence helps, and gives courage to all of us to keep performing and organising such events. Always support the local bands, local music scene, and underground venues. Support the bands by buying their merch – it’s what keeps the scene alive.” Tickets are available directly via Facebook or through Revolut on 99802413. Doors open at The Garage for what promises to be an intense celebration of sound, art, and camaraderie. Reeferfest 2025 is sponsored by Play Vintage , RocknRoll Malta , The Garage , Rock The South Malta , Tolminator , Sigritwal , Kewn Records , Tal-Kuġini at St Martins Grill , and Deaths All Folks . As organisers put it: “Stay Hemplified – and see you in the pit.” Further reading: Reeferfest press release

Part 3 Stage Conquered, The Journey Home Or Exploding Beer Sunday, July 13th. Clear skies, full stomachs, can’t lose. At noon we uploaded the van and 30 minutes later we were off. Backstage mandatory photo: photo Shawn Mizzi Arrived backstage through a long and winding road around 1.50pm and once we unloaded the gear Andrea checked the drumkit on stage and all logistics taken care of the band started to set up. Condemned AD was the first band of the afternoon on the second stage, just before Angelcrypt. Hailing from Sweden and formed in 1989 thrash metal band Condemned AD has till now released 2 demos 3 Eps with the last one being their latest release in 2024. The have released their debut full length album in 2022 titled Follow A Failing Leader. 3:05pm it was time for Angelcrypt. I was on filming duty, phones in both hands, while a crowd gathered and grew louder by the minute. From the first notes of ‘Clockwork Blood Read’ I could feel a certain aura building behind me, I was filming at that time so I could not turn around, but once the song finished I could hear a good round of cheering and upon turning I found a really good crowd of metalheads who came to see the band, some of them not for the first time, as we found out later. ‘Iron Creed was next, both from Dawn Of The Emperor released in 2020, followed by ‘Serpents Of The Somme’ from the 2016 album We Are The Dead. With the crowd getting warmer and louder every minute the band went into ‘Through Blackened Water’ which is the band’s latest single released last March. Back to Dawn Of The Emperor with the title track before playing their 2024 single ‘Legacy Of Valour’. Finishing their set with ‘The Black Hand’ which since it was released as a single in 2018 became one of the fans favourite and not only in Malta as we found out from the cheers and the reception the band received. Angelcrypt on stage L to R - Karl Friggieri, Andrea Pro, Jean Cutajar and Shawn Mizzi. photos: Noel Mifsud Post-show, there were autographs, photos, a sort of spontaneous meet and greet while in the meantime Free Fall took the stage. Sadly, we had to hit the road straight away. We were still hyped from the performance especially the band, of course and we were making good time and by 6.45pm we were in Austria. Mandatory after-show photo with the crowd. photo : Noel Mifsud At 10pm we managed to find an open restaurant (after a sort of long search on the internet), and we found it in the nick of time as it was nearly closing time. This was in Graz (again) and the restaurant was a Heinz chain restaurant which I highly recommend. Monday, July 14th. The final stretch. Several groggy espresso stops and by 10:30am, our last pitstop. Around noon we drove past Monte Soratte, famously shaped like Mussolini face lying down. Yes, really. Beneath it: secret WWII bunkers, pagan lore, and more historical spookiness than we expected. Ariccia, Lazio. photo Noel Mifsud During the drive back into Nemi we passed lake Nemi which is famous for its great sunken Roman ships built under Caligula. In 1927, Il Duce Benito Mussolini, President of the Council of Ministers, ordered Guido Ucelli to drain the lake and recover the ships. On 10 November 1931, the Minister of Public Works ordered the project, and all research abandoned, but on 19 February 1932, the Navy Ministry, which had been a partner in the recovery, petitioned Mussolini to resume the project. A purpose-built museum constructed over both ships was inaugurated in January 1936. Unfortunately, the ships were destroyed by fire during World War II on the night of 31 May 1944. We were famished from the long journey, so we tried returning to Ristorante Le Colombe. Closed—it was Monday, the Italian day of culinary mourning. Third restaurant was the charm, and after a final Roman feast at Da Sora Lella in Ariccia (another restaurant that I also highly recommend), we packed up, rested a bit, and headed to the airport. One last twist? The guy at the automatic baggage area became an Angelcrypt fan. Who knows—maybe we’ll spot him in a mosh pit soon. Flight home was smooth. Adventure over. Angelcrypt shall be on the road again from the 12th of September in Breda, The Netherlands till the 21st September, with 10 dates taking them through The Netherlands, Germany, Switzerland and Italy. Me…I was on the road again on Wednesday 21 st  July towards Tolminator with press accreditation in hand, but maybe that’s another story for some other time!

Part 2 Espressos and Masters of Rock – The Road to Vizovice Or Gas Contaminated Bogs Friday, July 11th started with a pitstop for oil and tyre checks, and an unintentional sightseeing tour of the local prison (we circled it several times… totally innocent, we swear). After coffee and some driving we stopped for a surprisingly posh lunch at Ripperlkeller Restaurant in Purbach, hitting the road again, only to be stopped by... tyre trouble. Purbach, Austria. photo: Noel Mifsud Turns out the front tyre was giving up on life. We tried to get a replacement, but the rental company back in Lazio didn’t want to pay (Austrian prices made them sweat). With the spare tyre, which was not in the best condition, we were off again by 5pm, racing against time to reach the Czech Republic before our hotel’s reception closed at 8pm. We sped across Slovakia and reached Brumov-Bylnice by 7:45pm. Check-in in Arena hotel was successful! Andrea got the solo room for better rest (he’d earned it), and we regrouped to storm the festival. Photo near the program poster in the rain. photo: Noel Mifsud Masters of Rock in Vizovice—22nd edition, Ronnie James Dio main stage, and a lineup ready to melt your face off. First up, we scoped out the second stage, where Angelcrypt would perform on Sunday. Then it was showtime, or at least we tried to see as much bands as we could: Lita Ford took us on a nostalgia trip I was enjoying until heavy rain rudely put a dent in my enjoyment of an artist, I used to have a pinup of on my bedroom wall during adolescence. Next, Till Lindemann arrived with a performance that would probably even make the devil blush. The performance is certified 18 and for good reasons. Rain eventually stopped during his performance which amongst many things included with cakes and raw (real) fish thrown from the stage. Finally, Septicflesh—Greek death metal at its finest with a stellar performance during which we could still smell the fish from the previous act. The main stage may have been epic, but the sound on stage two was tighter than Shawn’s jeans. At 2am, slightly drenched and deafened, we made our way through spooky woods back to the hotel. Floor Jansen. photo: Noel Mifsud Saturday, July 12th. Glorious sunshine, solid hotel breakfast, and—hallelujah—the van got its tyre properly fixed by a local Czech mechanic. (Way cheaper than Austria). We made it to the festival in time to almost  catch Burning Witches, but heavy rain had us sheltering in the beer tent. Not the worst place to get stranded. We eventually caught part of their set, followed by Me And That Man—Behemoth’s Adam Darski channelling Americana gloom like a haunted Johnny Cash. Really glad I was going to see them again in a few days’ time at Tolminator. Then came a wave of power metal: Masters Of Rock festival is famous for power metal acts and the next three probably all fall in that category with the first being Gloryhammer. A British power metal band founded by keyboardist Christopher Bowes, lead vocalist of the band Alestorm. Each member of the band represents a character in the story concept of the albums and members appear on stage in armour and costumes to represent their respective characters. Following the British band at around 9pm was Floor Jansen, the current lead vocalist of Finnish symphonic metal band Nightwish. I must admit that personally I was not looking forward to her set after the experience of seeing a performance by a previous lead vocalist from Nightwish performing solo. But boy how wrong was I, and I’m glad I did not move to watch who’s on stage 2. Floor’s performance was nothing short of excellent with a steady strong voice going through her solo songs and Nightwish’s greatest tunes, even some from their last album. She closed the set with a mesmerizing rendition of the Phantom Of The Opera which she originally performed during the last episode of a Dutch reality TV show Beste Zangers partnered with Henk Poort, who once again took the stage with her at Masters Of Rock. One with the boss. photo: Shawn Mizzi Saturday’s headliners were Swedish power metal band Hammerfall formed in Gothenburg thirty-two years ago and with a span of thirteen albums. Needless to say, their set was rich with their best songs. After Hammerfall we decided to skip the next band which was about to start at 1am, as we had to have a relaxing morning the next day with Angelcrypt hitting the stage early in the afternoon. But at least the rain had stopped before Me and That Man hit the stage and we could enjoy a great evening with some good music. On the way back to the hotel, through the same woods we even saw some deer and rabbits...

Part 1: From The Beer Festival to The Pope’s Backyard or Inky Pinky Ponky It all started ‘backstage’ at the Malta Death Festival 2024. Amid the growls and guitar squeals, Shawn and I got to talking—touring, metal, and the usual rock 'n' roll visions. I casually mentioned that I’d love to see Angelcrypt abroad, assuming the idea would be lost in the din of distortion. Spoiler alert: it wasn’t. Months later, as negotiations kicked off for Masters of Rock in the Czech Republic, Shawn pulled out that little nugget of memory. And so, the gears were set in motion. But before we could conquer foreign stages, Angelcrypt had one stop to make—their only Maltese gig of the year at the Farsons Beer Festival on July 3rd. Malta got its taste, and then it was time to fly. The voyage begins. photo: Angelcrypt Wednesday, July 9th began, as most adventures do, with a sleepy-eyed airport meetup at 8am. Of course, our flight was delayed, because nothing says "tour life" like starting behind schedule. While we waited, we bumped into Rene ‘Hades’ Farrugia, who was off to Poland to play his set at Castle Party Festival. Small metal world. We finally touched down in Rome, where Andrea, Angelcrypt’s Italian drummer, was our knight in shining...van. He drove us to his home in Ariccia, not far from Castel Gandolfo, aka the Pope’s summer escape. Rumour had it, His Holiness was meeting the Ukrainian president that day. Meanwhile, we were being spiritually blessed by Andrea’s wife’s divine pasta. When in Italy, carbs are holy. Rehearsal pose. photo: Noel Mifsud That evening, it was off to Andrea’s rehearsal den—a five-minute drive and a drum geek’s paradise. Jean had a minor technical scare: his bass’s bridge screw was loose. Not the first loose screw with Jean, mind you, but those only affects Shawn’s patience and self control. While he fixed that, Shawn suffered a tragic wardrobe malfunction—his jeans split clean down the middle. Crisis averted, pants changed, rehearsal commenced. Somewhere between blast beats and melodic growls, my ears—still clogged from the flight—miraculously popped back to normal. Whether it was the volume or the sheer metal, I’ll let you decide. After a full run-through of the setlist, Andrea took us out to Ristorante Le Colombe in Nemi. Half the menu mysteriously landed on our table, and we didn’t complain. 1am rolled around, and day one was officially conquered. The traditional "band photo on the road". photo: Angelcrypt Thursday, July 10th. We hit the road at 9am with our traditional "band photo on the road" and a mandatory espresso-and-cornetto pitstop by Lago Albano. If you’re in Italy and not over-caffeinating, are you even trying? Lago Albano. photo: Noel Mifsud We cruised past Florence by 12:46pm and Bologna by 2:15pm, making frequent espresso stops to maintain acceptable heart rates. At some point, Shawn’s ice cream cravings took precedence, so we added a gelato detour. Metal is all about balance, right? Then came the inevitable: traffic jam near Trieste thanks to an accident on the autostrada. A quick beer break at 6:30pm marked our final Italian stop. By 8pm, we’d crossed into Austria and reached Graz by 10pm, where Shawn found us an apartment with a locked garage—no need to unload the entire gear mountain. Dinner was late-night pizza from a kebab house, the only joint we found open at that time. Simple, greasy, perfect.

X-Tend Releases 14th Studio Album to Conclude 40th Anniversary Celebrations X-Tend will release their 14th. Studio album, X-Tend 1984-2024 part 2, on the 12th. August 2025, marking the latest instalment in the band’s 40th anniversary celebrations. The date carries special significance, coinciding exactly with the release of their very first single, “I can feel / Love me”, launched on 12th. August 1985. This milestone project which was made possible with the funds provided by Arts Council Malta, bridges the past and present with a collection of ten tracks that revisit, re-record and enhance some key works from their four-decade journey. The album will be released as a deluxe gatefold edition on 180g vinyl, offering fans a high-quality, collectible format, featuring ten carefully selected. Tracks that span the band’s early roots. The album is divided into two sides, combining new full-band recordings of classic tracks with enhanced and updated versions from the band’s earlier catalogue. Side A opens with a fresh ska version of Game of Life , composed by Eric Calleja, followed by Glittering and Love Me , both fully re-recorded by the band and originally composed by Charles Dalli. Also included are new recordings of Deadly Dreams  and an enhanced and edited version of Every Single Heart , both composed by Calleja. Side B continues with a new recording of Black Pagodas , and Can’t Hear You Calling , which—along with Message Is The Message  and Conclusion —dates back to the period before Charles Dalli joined the band. These three songs, co-written by Dalli, Calleja, Debono, Cassar, and Sammut, were recently re-recorded by the full band in Dalli’s studio, following minor structural adjustments introduced by Dalli. The side also includes an enhanced version of Reach Out , composed by Calleja. Most of the songs were entirely re-recorded by the current band lineup, offering a refreshed and cohesive sound, while others feature subtle updates to the original versions for improved clarity and arrangement. X-Tend 1984–2024 Part 2  stands as both a tribute to the band’s musical evolution and a revival of earlier material—some of which pre-dates their lead vocalist’s arrival—now brought into the present with the full band’s input. As X-Tend continues to build on its legacy, this album reinforces their enduring relevance and creative momentum four decades on. Special thanks go to Arts Council Malta and Manolito Galea of Lito’s Place. You can purchase the album from 12th August here .

Rock in the Forest 2025 returns to Chateau Buskett—Malta’s only natural woodland—on Saturday, 23 August, promising an unforgettable open-air concert experience like no other. The gates open at 7:30 PM, with the music kicking off at 8:30 PM. Set beneath a canopy of trees and illuminated by vibrant lighting, the event transforms the forest into a magical festival ground for one night only. This year’s show will feature a dynamic setlist of rock anthems spanning decades, covering everything from classic legends like Queen, Pink Floyd, and the Eagles, to modern giants such as Foo Fighters, Muse, Green Day, and Ghost. A special tribute to Ozzy Osbourne will be a highlight of the night. The performance is delivered by a powerhouse collective of Maltese talent, including vocalists Georgius Mifsud, Sarah De’ Marco, Jeanelle Newell, Simaria Galea, David Ellul Mercer, special guest Thea Aquilina, and founder David Perotti. They’ll be backed by an exceptional group of musicians: Kristina Perotti, Franco Aloisio, Sergio Bellizzi, Max Paget, Cliff Smith, Mario Saliba, and Carl Tanti. Since its humble beginnings in 2012 as a backyard concert, Rock in the Forest has evolved into a major annual music event with a charitable mission. The 2025 edition will support Inspire Malta, continuing a tradition of giving that has previously benefited causes such as Dr Klown, Cystic Fibrosis Malta, Terry Time Trust, DAR Bjorn, WaterAid, and ACICA. Food and drink are an essential part of the evening’s atmosphere, with an on-site bar and restaurant open throughout the night. Guests can choose to stand near the stage for a lively concert feel or reserve terrace tables for a more relaxed dining and listening experience. Parking is available on location, ensuring easy access for all attendees. Tickets are donation-based and can be purchased online via platforms such as Showshappening or at the entrance on the night. Children under 13 can attend for free, making the event welcoming to families as well as die-hard rock fans. What makes Rock in the Forest truly special is its combination of great music, community spirit, and a one-of-a-kind location. It’s an accessible, affordable evening of entertainment that blends the power of rock with the beauty of nature—all while supporting a meaningful cause. Whether you come for the music, the atmosphere, or the mission, this is one night you won’t want to miss.

Killerwitch Signs with Witches Brew for Upcoming Album "Palace of the Dragon" Heavy Metal band Killerwitch  has officially signed with the German underground label Witches Brew , marking a major step forward in their journey through the world of epic and power-driven metal. The announcement came Wednesday 6th August, with Witches Brew declaring the news on their social media platforms: “Witches Brew has forged a deal in steel with Heavy Metal band Killerwitch from Malta! Their second full length, 'Palace Of The Dragon,' is planned for release on CD this September. Seven tracks featuring a stunning mixture of Power, Heavy and Epic Metal!” Killerwitch 2025 In a post shared on their own social media, Killerwitch expressed excitement over the collaboration: "Good evening, metalheads! As promised, we are extremely proud to bring you not one, but two major announcements this time.First, Killerwitch has officially sealed the deal in steel with record label WITCHES BREW!Second, we are thrilled to reveal that our upcoming second full-length album is set for release this September!Stay tuned, for more news in the coming weeks!” The upcoming album, Palace of the Dragon , is set to be a powerful showcase of the band’s evolving sound—a blend of Power, Heavy, and Epic Metal that has become their signature since forming in 2018. A Band Forged from the Ashes Killerwitch's origin traces back to the disbandment of 12th Ode , a prior project that included guitarists Jeremy  and Owen  (Sacro Sanctus / ex-Viper Soup Complex), along with bassist Gino  (Characters). The trio decided to pursue a new direction, crafting fresh material under a new name. In early 2019, they were joined by Luke  (Mur.Doc 104) on vocals and Claudio  on drums, officially solidifying the Killerwitch lineup. Their debut album was recorded and released in November 2020. However, the band faced changes in 2021, parting ways with Claudio and recruiting Gareth (ex-Hecate Enthroned) in 2022 to take over on drums. Rising in the Metal Scene Killerwitch debuted live in May 2022, supporting Pilgrimage , and quickly built momentum with a series of performances throughout the year. They shared stages with acts like Midnight Priest , Angel Martyr , Forsaken , and Storace , gaining a dedicated following and solidifying their place in the local and regional metal scenes. The upcoming Palace of the Dragon  is their second full-length effort and will be the band’s first release under the Witches Brew label. With anticipation building and a growing fan base hungry for more, Killerwitch’s next chapter looks set to be their most explosive yet. Stay tuned for more updates and pre-order announcements as September draws near.

“You see someone blow up on social media overnight… but do you know about the 10 years of work before that moment?” Everyone seems to love a story of an overnight “success.” The musician “who went viral.” The business “who made six figures in six months.” The individual “who transformed their body in thirty days” It makes us question why we haven’t achieved something similar yet. But most of these so-called overnight success stories are built upon years of visible and, most often, invisible work. There are so many different angles we can explore, but the most important to ponder at this point is: what is success, truly? The Decade Behind the “Moment” Consider any musician who makes it big on social media in a single day. It seems like they’ve struck gold overnight. But in reality, what they’ve accumulated is something like: 10,000 practice room hours in the form of rehearsals Performances in front of three to five people in empty venues Songs that died in a lifetime of obscurity Stages of life in which they contemplated disappearing and not pursuing their career The same goes for everyone else. The individual who “seems” to have the perfect job may have slogged it out for over a decade. That “fitness transformation?” More often than not, it is the result of relentless work “behind the curtain” over the years and manifests in slow, long-term progression, rather than a magical thirty day program. It seems like success occurs at all at once. But in reality, it’s the tip of the iceberg, a tiny fraction of what is a long, silent voyage. Uncovering What's Below The Surface Additionally, let us consider something we don’t often explore, the notion of success is, at times, the opposite of what it appears to be. For some, success can feel anticlimactic like when a viral moment or a “big break” is accompanied by no real structure to uphold it. While for some, reaching the so-called milestone feels devoid of any magic. This is precisely how so many people “make it” only to later feel disoriented. The person gets what they believed were the markers of success, only to come to the realisation later that it is not what they were, in the end, looking for. Shifting The Thought Of Success So what is it, success? For the musician, is it packed-out shows or is it finishing a song that gives them a sense of achievement? For some creators, is it going viral or having the self-expression and freedom to continue making art? For anyone, is it focusing on external markers, or living a life deemed to be meaningful and fulfilling? Personally, I think it is not an event in time, rather an accumulation of several. So far, I have understood that success is the process and the perpetual work that leads to a joyful outcome. Why Slow Wins Last Slow growth is definitely not beautiful in any way. It cedoes not go viral. However, it ensures that something genuine is built: Lasting real skill Ingrained confidence that is not dependent on external admiration The liberty to define what success is for you Perhaps that is what we should work for. Not the quick win, but the slow, sure and steady climb. Your Turn Could it be that real success is simply in showing up, day after day, regardless of whether the world is noticing or not. So let me ask you: What does success mean for you – devoid of the suffocating expectations that have been imposed on you, and instead pivoting towards what genuinely resonates and brings joy to your life? Merch Cd’s and Vinyl My Website Stream my Music

On the 10th of July, 2025, Malta's very own Chellcy Reitsma was accepted as a new GRAMMY Voting Member by The Recording Academy!  After a rigorous application process, and cutting through an  overwhelming pool of international applicants, Chellcy's music industry peers selected her as one of the deserving individuals empowered to make a direct impact on the future of music and the lives of those who power it – creators.   As a member, she will have significant influence to help The Recording Academy carry out their ongoing mission to support and protect the art of music creation and music people year-round. She can now submit songs for GRAMMY nomination consideration and cast her vote in choosing who will receive a GRAMMY nomination and in the final GRAMMY winners; as well she can attend The Recording Academy events, including the GRAMMY's.   What does this mean for Malta? By becoming a GRAMMY Voting Member, Chellcy has taken one huge step forward in elevating Malta's status on the international music scene and can represent Malta and the Maltese music industry on a very internationally renowned platform and music community!  A huge congratulations to Chellcy Reitsma as well as to Malta's music community for this huge win! Let's look forward to the future and keep up with Chellcy's progress.

On behalf of Wacken Metal Battle Malta, I want to express my deepest and most heartfelt gratitude to everyone who helped make our journey to Wacken Open Air 2025  such a powerful and unforgettable milestone. Malta made history with its first-ever live performance on the sacred grounds of Wacken , and what a moment it was. 🔥 A massive thank you  to the Wacken Metal Battle international crew, the Wacken Open Air promoters and team, and the entire W:E:T Stage crew at Bullhead City. Your professionalism, dedication, and tireless work behind the scenes gave Morsrot the stage to showcase Maltese metal at its fiercest. 🔥 To Marton Saliba  – your unwavering support and guidance to Morsrot throughout every phase of this journey was absolutely vital. Your commitment was instrumental in pushing the band toward this incredible achievement. 🔥 To Gordon O’Reilly  – representing Malta as part of the International Jury was no small task, and your presence added true weight to our nation’s name on the global scene. Your insight and dedication helped cement Malta’s mark at Wacken. 🔥 To every single metal fan  who stood with us – whether you were in the crowd or cheering from afar – your energy, support, and belief made all the difference. 🔥 And to Morsrot  – what can I say? You brought the fire. You played with heart, fury, and conviction, embodying the raw power and soul of Maltese metal on one of the most prestigious stages in the world. We are beyond proud. This moment proves what can happen when passion, persistence, and unity drive us forward. Let this be the beginning of many more milestones to come. Here's to louder years ahead , and to keeping the metal flame burning bright for Malta on the global stage. Until the next battle… 🔥 Nick Grima MGT Official Promoter – WACKEN METAL BATTLE MALTA  🔥

On August 1st, PERSONAL RECORDS is proud to present ANCHORITE's highly anticipated second album, Realm of Ruin, on CD format. ANCHORITE was formed in late 2018 at the Malta Doom Metal Festival when vocalist Leo Stivala (Forsaken, ex-Reflection) and bassist Peter Svensson (Void Moon, Assassin’s Blade, ex-Goatess) decided to form a band together. Firmly based in the field of epic doom metal, they started outlining the overall concept of the band and began recruiting members. The first member to join the band was drummer Marcus Rosenkvist (Void Moon, Assassin’s Blade), and work on material for their first album started right away. After trying several guitarists, the perfect fit was found in Martin Jepsen Andersen (Blindstone, Meridian, ex-Reece) and the recording of that album, Further from Eternity, could be completed. This first album was mixed by Magnus "Devo" Andersson (ex-Marduk) at Endarker Studio. The album contained a heartfelt tribute to Mark "The Shark" Shelton, the late frontman of Manilla Road, called "Valhalla Awaits," featuring ex-Manilla Road members Randy Foxe (drums) and Bryan Patrick (vocals). After a break of a few years, ANCHORITE started writing new material for a second album. This time, compositions were done in a more of a band-collaborative manner, with everyone pulling in ideas. The new album was recorded 2024-2025, and mixing and mastering was again trusted in the hands of Endarker Studio. Titled Realm of Ruin, form fits contents, as ANCHORITE build towers of epic-ascending / descending emotion and heaviness. Truly, this is maniacal doom for doom metal maniacs - the band are forthright about their influences, namely Solitude Aeternus, Candlemass, and the aforementioned Manilla Road - but that takes nothing away from the poignancy and power of these eight equally weighty songs. Even for those well versed in epic doom, Realm of Ruin conveys ANCHORITE's own personality, indeed putting a unique twist on an otherwise-strictured idiom; one will find a plethora of dual-harmonic leads and tempos that pick up to a trad-metal gallop, among other tasteful details. What's more, the band cement their cultness by getting a guest appearance from legendary Mercyful Fate guitarist Michael Denner. Wander within this Realm of Ruin as the journey of the ANCHORITE continues!

Lyndsay Pace is making it big in Hollywood! Lyndsay Pace is a singer/songwriter hailing from the Mediterranean island of Malta. Her passion for music had always been evident from a very young age carrying her natural presence and self-confident abilities through each of her stage performances. She differs from the other acts in the local music industry by bringing about a certain aura, a professional one which incorporates stamina, attitude and pure energy. Lyndsay had also participated in a number of renowned festivals both local and international such as The Malta Eurovision Song Contest, X Factor Malta, Muzika Muzika, Britain’s Got Talent, The Hartbex Carpathia Festival and The Fan Vision Song Contest to mention a few. Following her latest achievements, Lyndsay Pace has been nominated at the World Entertainment Awards in the Best Pop Song Category with her single “Trippin’”, the top charting track from her debut album in collaboration with Highkey Music. Furthermore, the most anticipated ceremony shall be taking place in Hollywood, Los Angeles early next year amongst worldwide artists who are not only involved in the music business but also in the film, fashion and creative industry whilst shaping today’s culture. The mission of such a prestigious event is to honour, recognize and reward excellence towards the outstanding talents across the globe. www.lyndsaypace.com

After more than 15 years of musical exploration behind the scenes, independent Maltese artist Johann Caruana  is stepping confidently into the music scene. Earlier this year, the 32-year-old musician released his debut single, “No Hope Left,”  a track that marks the beginning of what he calls “a long and meaningful musical journey.” Johann’s music is anything but conventional. His work is a fusion of rock, electronic, and worship influences—blending multiple sub-genres including blues rock, shoegaze, dance pop, trance, disco polo, and even rap. Each song is a sonic experiment, carefully crafted to reflect the emotional and spiritual layers of his identity as a composer, multi-instrumentalist, and man of faith. “I spent over ten years writing and experimenting with different genres, but I finally felt it was time to take the leap and start releasing my music to the world,” says Johann, who plays both drums and bass guitar. “‘No Hope Left’ was the first step, and it opened doors I didn’t expect.” Following the single’s release in March, Johann quickly gained momentum. His latest track, “Under the Pulse,”  brings a powerful, summer-inspired sound that showcases his flexibility as a producer. Then came “Midnight Blues” —a blues rock melody that recently received international airplay on WANT FM 98.9 in Tennessee, USA. For an independent artist from Malta, that kind of recognition is both rare and encouraging. What truly sets Johann apart, however, is his willingness to experiment with faith-based music  in ways that resonate with modern audiences. His track “Philippians 4”  takes a Bible verse and reimagines it as a rap song, complete with a beat that wouldn’t feel out of place on today’s hip-hop charts. “I believe the Bible can still be presented to present and future generations through the media we have at our disposal,” he says. “Music is one of the most powerful tools we have to do that.” Another standout track, “At the Edge,”  continues the theme of inspiration, carrying a message about perseverance and not giving up—something Johann himself has clearly embodied throughout his creative journey. With more releases planned and a steadily growing international reach, Johann is shaping up to be a bold and meaningful new voice from Malta . This evolution includes exploring opportunities to collaborate with local vocalists on future projects. Listeners can find Johann Caruana’s music on all major streaming platforms, including Spotify, Apple Music, Amazon Music,  and YouTube Music .

Two minutes of scrolling can undo hours of peace. Here’s why and how to stop the spiral. If you spend just two minutes scrolling on social media platforms these days, you can easily convince yourself that you’re falling behind either on your fitness , your career , your travel or even your musical capabilities. You see someone with perfect abs, another with a dream job, and yet another who seems to play their instrument with effortless mastery. It’s like the entire world is advancing while you’re standing still. That sinking feeling I should be there by now feeling? That’s comparison paralysis —and the scroll is designed to trigger it. The feeds we consume are not just showing life. They are curated, filtered, and often manipulated highlight reels. Which brings us to the Giacomo Turra saga . When the Reel Isn’t Real Turra, a guitarist who went viral for his stunning performances, later faced backlash for allegedly relying on editing tricks, borrowing others’ work, and over-polishing what was presented as live and authentic. For a while, he was the standard many aspiring players silently compared themselves to. Then the cracks showed, proving once again that not everything we scroll past is true. And this doesn’t just happen in music. For anyone , the same illusion applies: That traveller posting endless beach photos? They may have batched six months’ worth of content in one trip. The entrepreneur “making six figures overnight”? You’re not seeing the years of struggle or the smoke and mirrors. The fitness influencer flaunting their physique? It could be perfect lighting, filters, or even digital enhancement. We’re often comparing our raw, unedited life to someone else’s staged moment . Why It Freezes Us Comparison isn’t always bad—it can sometimes motivate. But when the comparison is based on distorted realities, it overwhelms. Instead of inspiring action, it makes you freeze. You scroll more. You doubt yourself more. You feel smaller. How to Disarm It Whether you’re a musician , a creative , or simply trying to stay sane online, here’s how to loosen comparison’s grip: Name it when it happens. Pause and say: This is comparison, not truth. Remember the Turra effect. You don’t know how many takes, edits, or embellishments lie behind that clip. Curate your feed. Follow creators who share the messy, real process, not just the polished results. Zoom out on time. Your career, health, or art has its timeline. Someone else’s pace isn’t your pace. Shift from consuming to creating. Play one riff, record one idea, write one sentence. Creation beats endless scrolling. Take one small step. Ten minutes of honest work, practice, learning, and movement gives more than ten minutes of envy. Your Turn Next time you catch yourself spiralling in the scroll, ask: If I put this same energy into building my craft or my life, what would I create right now? Then… go do that. Because you’re not late. You’re not behind. And most of what you’re comparing yourself to? It’s not the whole story. So tell me—how do you keep social media from making you feel “behind”? Do you have a way to stop comparison before it takes hold? Become a paid subscriber here . Thanks for reading — and keep grooving, Merch Cd’s and Vinyl My Website Stream my Music

Esoteric Ethiopia & Cultura Obscura Feature on Monumental 100-Track Compilation Released by Santa Sangre Magazine Santa Sangre Magazine has just released an ambitious and boundary-pushing 100-track compilation , now available via Bandcamp . Among the standout contributions are three atmospheric and genre-defying pieces from the project Devil’s Breath , a collaborative and solo venture between Esoteric Ethiopia  and Cultura Obscura . Featured Tracks: 1. “Hadza” – Devil’s Breath (Esoteric Ethiopia + Cultura Obscura) Genre:  Tribal Ambient / Drone / NoiseA hauntingly atmospheric track inspired by the Hadza people—an indigenous, non-hierarchical tribe from Tanzania. “Hadza” is a sonic reflection on harmony, resistance to hierarchical oppression, and the raw beauty of ancestral traditions.🎧 Listen: Hadza 2. “Sombrelight” – Cultura Obscura (Solo) Genre:  Experimental Drone Noise Ambient“Sombrelight” envelops the listener in textured drone layers and dense ambient noise. A solo effort from Cultura Obscura, this track deepens the compilation’s mood with stark emotional contrasts.🎧 Listen: Sombrelight 3. “I Did Not Ask For This, It Will End With Me” – Esoteric Ethiopia (Solo) Genre:  Drone / Tribal Dub Techno AmbientA deeply personal track rooted in Anti-Natalist philosophy , Esoteric Ethiopia offers a minimalist but powerful meditation born from a period of profound introspection. The track weaves subtle noise into a tribal-tinged ambient dubscape.🎧 Listen: I Did Not Ask For This... These contributions reflect the raw, experimental spirit of Devil’s Breath , highlighting music that challenges traditional genre boundaries while speaking to themes of human fragility, resistance, and philosophical questioning. Santa Sangre’s compilation  is now live and offers a vast sonic landscape for lovers of the underground, the obscure, and the deeply meaningful. We are forever grateful for this opportunity to be included in such an expansive and important release. More Info: 🔗 santasangremagazine.bandcamp.com

New Writers Critic Platform launched by Festivals Malta and Arts Council Malta Festivals Malta, in collaboration with Arts Council Malta, have launched a pilot project for a Writers Critic Platform designed to stimulate critical dialogue around dance, theatre, music and performance. This platform is aimed at developing and promoting high-quality arts journalism in the digital space through a pilot edition dedicated to dance writing. Writer's Critic Platform - Photo: Elisa von Brockdorff  This Writing Academy, will take place during Dance Festival Malta and is led by journalist, producer and director of Aerowave’s Springback Academy, Oonagh Duckworth. Five writers who applied through an open call, which was released earlier this month, will attend writing workshops designed to hone their skills and to help them gain confidence in producing compelling, timely, and thoughtful dance criticism for online publication.   Annabelle Stivala, Executive Head, International Cultural Relations & Events, Arts Council Malta, said, “This program, which is a collaboration between Arts Council Malta and Dance Festival Malta, is designed to cultivate a new generation of art writers and critics across all artistic disciplines, reinforcing the essential connection between performance, critique, and audience engagement. This initiative reaffirms our belief that critical writing is a vital extension of artistic practice, helping to build bridges between artists and audiences.”   Festivals Malta CEO, Frans Agius, said that “Through this platform and our festival, Dance Festival Malta, Festivals Malta is aiming to develop local talent even further, while contributing to cultivate more critical writers in the cultural sector, particularly in dance.”   “Art critics and writers play a vital role in translating the visual and the momentary into language,” says Dance Festival Malta Artistic Director, Francesca Tranter. “They help artists grow by offering insight and analysis, and they allow audiences who could not be physically present to connect with the work in a meaningful way. That is why such initiatives are pivotal for the culture sector” The Writer’s Critic Platform is happening in collaboration with Arts Council Malta and with the support of the Valletta Cultural Agency and Valletta Design Cluster. The Platform is taking place during Dance Festival Malta’s 4th edition between the 24 and 27 July. For tickets and more information about the festival visit www.dfm.mt

Myles Drops "Gratitude Song" - A Raw, Uplifting Anthem for a World That Needs It Gratitude Song (artwork) Maltese alt-rock artist Myles is back with a powerful new single, "Gratitude Song," releasing Saturday, 26th July. The track is a bold call to stay soft, kind, and grounded-especially when it feels hardest. Following the success of Lil Din l-Art Helwa and Issir Sinjur, Myles now pivots to personal resilience with Gratitude Song, the opening chapter of his upcoming album Bare Bones. The track begins as a quiet reflection and gradually builds into a rousing anthem about emotional survival, human connection, and the quiet rebellion of being grateful in a chaotic world. "I wanted to write something real - not overly polished, not fake happy. Just... human," says Myles. "We talk about gratitude like it's easy. But real gratitude? It's a fight. It's radical." will connect with instantly. Follow Myles

James Dratta Releases Emotional Song 'No Need To Be Alone' Singer-songwriter James Dratta has just released his latest single, “No Need To Be Alone” a heartfelt anthem blending modern pop production with a retro synthwave atmosphere. The track is now available on Spotify and all major streaming platforms.   “No Need To Be Alone” is a melodic journey through emotional isolation and rediscovery, a relatable song born from late-night thoughts and honest reflection. Built around various synth textures and a compelling vocal performance, the song offers comfort and hope in a world where connection often feels out of reach. “I wanted to write something that reminds people they’re not alone in how they feel - that there’s strength in vulnerability,” says James. This track was entirely produced by Dratta, including playing all the instruments and vocal recording as an experiment to create a track in less than 10 days as an indie artist to capture a very raw emotion.   With influences rooted in pop, rock, and retrowave, James Dratta delivers a track that feels as sincere as it is radio-ready. His background as a live performer in both solo and full-band formats informs the energy and polish of the recording, while the raw lyrics maintain an intimacy listeners will connect with instantly. You can listen to the track here