On Saturday, December 7th, during the third edition of the annual event The Living Thrash , organised by Murdoc.104, a new band exploded onto the scene. Impertex, a four-piece outfit hailing from Malta, made their debut appearance on stage at The Garage. Like many young musicians stepping into the spotlight for the first time, their performance was fuelled by a mix of nervous anticipation and unrestrained enthusiasm. As the first notes reverberated off the walls, that energy transformed into raw power, signalling the arrival of a new contender in the thrash metal world. Impertex delivers a ferocious blend of heavy metal, the relentless drive of thrash, and the visceral grit of black metal vocals. Comprising Kieron Spiteri (guitarist and vocalist), Michael Vassallo (bassist), Marta Privitera (guitarist), and Ezra Grech (drummer), the band draws inspiration from metal legends while forging a sound uniquely their own. Kieron Spiteri’s musical journey began with his mother’s classical guitar, evolving into a passion that became a defining part of his identity. Self-taught and driven, he progressed from mastering Metallica's Ride the Lightning to forming Impertex in April 2023. Starting as a rock band, the group quickly found their niche in thrash metal, solidified by Kieron’s evolution into a formidable front-man with a vocal style influenced by black metal greats like Hellripper and Bathory. Bassist Michael Vassallo, who joined at just 13 years old, also brings a deep-rooted love for metal, shaped by childhood car rides sound-tracked by Iron Maiden and Metallica. His dedication to the bass and his commitment to Impertex have been instrumental in the band’s transition from casual jams to a focused thrash metal powerhouse. Guitarist Marta Privitera embodies the spirit of thrash metal with her relentless drive and technical skill. Inspired by Nirvana and Metallica in her early years, she quickly expanded her musical palette to include thrash and death metal icons like Megadeth and Carcass. Marta’s role in connecting band members and shaping their sound has been pivotal to Impertex’s rise. Drummer Ezra Grech brings dynamic energy and precision to the group, his craft honed through years of study and performance. Playing drums became not only a creative outlet for him but also a way to channel his energy constructively, allowing him to thrive as a musician. Ezra’s versatility and dedication add depth to the band’s sound, helping them push their limits as a unit. Impertex’s debut performance at The Living Thrash showcased their collaborative spirit and raw intensity. They even welcomed guest performer Zain Gauci on stage, amplifying an already electric set that left the crowd clamouring for more. Their blend of youthful vigour and technical prowess made them a standout act, hinting at a promising future in the metal scene. With their unique fusion of genres and a collective passion for music, Impertex is poised to carve their path in the world of heavy metal. For fans eager to experience the next wave of thrash, Impertex is a name to watch. band photos: Maria Baldacchino except Marta Privitera's photo: Zea Friggieri

Christmas music in Malta has long served as a vessel for cultural expression, communal celebration, and spiritual reflection. Over the decades, local artists, choirs, and musicians have contributed to the festive soundscape, offering albums and songs that balance tradition and contemporary artistry. Among the noteworthy contributors, the group X-Tend occupies a special place with their innovative and heartfelt Christmas releases. Maltese Christmas Albums Over the Years One of the most significant contributions to Malta's Christmas music tradition was the 2013 release of Ħelu Bambin . This compilation featured 21 tracks, blending original songs with Maltese adaptations of international Christmas hits. Artists such as Chiara, Enzo Gusman, Ludwig Galea, Mary Spiteri, and Ivan Grech participated, creating a spiritually focused album. Its proceeds supported Dar tal-Providenza, a charitable institution, emphasizing the spirit of giving at the heart of Christmas. Similarly, Peter Calamatta’s Peter Calamatta Sings Your Favourite Christmas Songs , released the same year, showcased 19 well-loved carols, including a Maltese rendition. Produced by Elton Zarb, this album contributed to the Millennium Chapel in St Julian’s, reflecting Calamatta’s dedication to community causes. The Mary’s Angels Choir added to the festive spirit with Il-Kewkba li Ddiet . This album featured traditional Maltese carols and supported the Kampanja Familji fil-Bżonn, helping families in need while preserving the country's musical heritage. In a modern pop context, Emma Muscat’s Moments Christmas Edition  (2018) reimagined festive classics such as "All I Want For Christmas Is You" and "Let It Snow," alongside her earlier hits, introducing a youthful vibrancy to the Maltese Christmas music scene. The Enduring Charm of Maltese Carols Maltese traditional Christmas songs have stood the test of time. Ninni La Tibkix Iżjed , penned by Jesuit Indri Schembri in the 19th century, remains a cornerstone of Christmas celebrations in Malta. Songs like Ġesu Ħelwa Tarbija  and others evoke the intimate and spiritual essence of the holiday season, often performed in churches and family gatherings. X-Tend: Icons of Maltese Christmas Music X-Tend’s contributions to Maltese Christmas music have been both prolific and impactful. Their album Sbieħ il-Milied remains a hallmark of their artistry, featuring tracks like Tini Tini Zmien il-Milied , which blend heartfelt lyrics with contemporary arrangements. The group’s ability to infuse traditional Maltese sentiments with modern musical styles has made their work stand out in Malta’s festive music landscape. Another milestone for X-Tend was their album Ilwien il-Milied . This collection showcased the group’s versatility, offering a mix of festive joy and introspection. The album was characterized by its lush arrangements and evocative storytelling, which resonated deeply with audiences during the holiday season. Christmas Carols specially arranged by Daniel Vella were released in 2023 by the George Vella School Of Music X-Tend’s music exemplified the Maltese approach to Christmas—celebrating the joy of togetherness while reflecting on the deeper meanings of the season. Their albums have not only entertained but also nurtured a sense of cultural pride among listeners. The Maltese Christmas music tradition is a rich tapestry woven from the threads of community spirit, religious devotion, and artistic innovation. From charitable albums like Ħelu Bambin  to the dynamic contributions of X-Tend, Malta’s festive songs and albums have continually evolved while honoring their roots. As X-Tend’s work illustrates, Christmas music in Malta is more than entertainment—it is a celebration of identity, faith, and generosity. While X-tend entertained crowds with a jam-packed schedule of shows this year, The New Victorians released an album of Maltese carols. The album features 11 re-imagined Maltese carols, recorded live with the accompaniment of a six-piece band at the charming Bir Miftuh Chapel in Gudja. Including well-loved songs like Gesu Helwa Tarbija and Ninni La Tibkix Izjed , the recording blended Malta’s rich festive musical traditions with the warmth of a live performance, capturing the Christmas spirit with a refreshing twist. The album's release coincided with the duo’s Chapel Hop Concerts held between the 5th and 8th of December, which, for the first time, included a multicultural choir enhancing their magical live performances. I am certain there are many more songs and releases worthy of mention, such as Freddie Portelli’s Christmas contributions. However, as with many aspects of our local music culture, there is a significant lack of information and documentation. Over the past year, our team has worked diligently to unearth and highlight Malta's rich yet under-documented cultural heritage, and we are committed to continuing this effort in the years to come. I would like to take this moment to thank all our readers for your support and for engaging with the articles we publish. Your encouragement means so much to us and provides the motivation we need to keep going. On behalf of the entire Melodija team, I wish you and your loved ones a joyful Christmas and a prosperous New Year! Noel Mifsud 20th December 2024 Bibliography "Christmas songs." Malta Music Memory Project [M3P]. URL: http://www.m3p.com.mt/wiki/Christmas_songs "A Christmas CD for charity." Times of Malta , 2013. URL: https://timesofmalta.com/article/A-Christmas-CD-for-charity.498267 "Ħelu Bambin 2: A Christmas CD Compilation in Aid of Id-Dar tal-Providenza." Dar tal-Providenza . URL: https://www.dartalprovidenza.org/helu-bambin-2-a-christmas-cd-compilation-in-aid-of-id-dar-tal-providenza/?lang=mt "Launching of new album." GVSoM . URL: https://gvsom.org/launching-of-new-album/ "Peter Calamatta releases Christmas album." Times of Malta , 2013. URL: https://timesofmalta.com/article/Peter-Calamatta-releases-Christmas-album.499294 "Emma Muscat Is Releasing A Christmas Album Full Of Your Favourite Singalongs." Lovin Malta , 2018. URL: https://lovinmalta.com/lifestyle/emma-muscat-is-releasing-a-christmas-album-full-of-your-favourite-singalongs/ "Top 5 Most Popular Maltese Christmas Songs." Love Malta , 2023. URL: https://lovemalta.com/top-5-most-popular-maltese-christmas-songs/ Sbieħ il-Milied . Discogs . URL: https://www.discogs.com/release/13776029-X-Tend-Sbie%C4%A7-il-Milied Ilwien il-Milied . Discogs . URL: https://www.discogs.com/master/3147123-X-Tend-Ilwien-Il-Milied Christmas comes early! The New Victorians release their album of Maltese carols by Francesca Vella . GuideMeMalta.com URL: https://www.guidememalta.com/en/christmas-comes-early-the-new-victorians-release-their-album-of-maltese-carols

Weeping Silence Welcomes New Drummer Amid Recovery Challenges In a heartfelt announcement on their Facebook page, Maltese doom metal band Weeping Silence shared major updates regarding their drummer lineup and the health struggles of long-time member Julian Mallia. The saga began in January, just three weeks after the release of their latest album, Isles of Lore. Julian Mallia, the band's powerhouse drummer, was diagnosed with a knee ligament injury following a jogging mishap. While not life-threatening, the injury significantly affected his ability to handle the double-bass drumming style integral to Weeping Silence’s sound. Despite maintaining light drum practice and physiotherapy sessions, Julian faced a long road to recovery. By early 2024, it became clear that the healing process would take longer than anticipated. Recognizing the band’s need to continue their musical journey, Julian made the difficult decision to step back, allowing Weeping Silence to seek a replacement drummer. After months of searching and weathering a challenging period of uncertainty, the band announced on December 13th that Daniel Aquilina has officially joined as their new drummer. In their post, the band described Daniel as a “remarkable talent” whose energy perfectly complements their vision. While Daniel has been rehearsing with the band for a couple of months, the announcement was delayed out of respect for Julian’s recovery and the delicate nature of the transition. The band acknowledged the emotional toll of the past year, stating that morale had reached an all-time low as they faced the possibility of disbanding. Ultimately, the decision to move forward with Daniel was seen as essential to sustaining the band’s momentum for their next album and future performances. Weeping Silence expressed deep gratitude to Julian Mallia for his dedication and contributions over the years, emphasising that he remains a vital part of their story. Fans also received a compilation of Julian’s standout drumming performances, showcasing his immense talent and legacy within the band. As they turn the page to this new chapter, Weeping Silence thanked their supporters for standing by them during a turbulent year. With Daniel Aquilina on board and new material in the works, the band is ready to forge ahead with renewed inspiration and energy. Stay tuned for updates as Weeping Silence prepares to unleash the next phase of their musical evolution. New Music from Maltese Artists: Matthew James and The Crowns Drop Singles and Videos Two major Maltese music releases have captured the spotlight this week, with Matthew James and The Crowns each unveiling new projects that highlight their evolving artistry and passion for storytelling through music. Matthew James: "People" Singer-songwriter Matthew James  released his latest single, People , on December 12th. The track, featuring the Malta Philharmonic Orchestra, marks a poignant moment in his career. In a Facebook post, Matthew expressed his deep appreciation for the orchestra, stating, “Their artistry elevated this song to a whole new level.” The inspiration for People  stems from a personal journey of reflection and empathy. “A few years ago, I found myself fearing people—focusing only on their flaws after going through a rough time,” he shared. “But I had a moment of clarity that reminded me we all face struggles, no matter who we are. People  is about hope. It’s about looking beyond our differences and seeing beyond what divides us, finding common ground.” Accompanying the heartfelt single, the music video  for People  was launched on Wednesday, December 17th, at 10 a.m., capturing the song’s message of unity and resilience. Fans can stream the single here . The Crowns: "Out of Our Minds" Pop-rock band The Crowns  also treated fans to new music this week, unveiling the official music video for their single Out of Our Minds  on December 13th. This track is the lead single from their upcoming five-track EP, breakupbeard . In a Facebook announcement, the band shared their excitement about the collaboration with producer Jimmy Tyrrell , emphasizing the emotional core of the song. “This song captures the raw emotion and energy we’ve poured into our music,” they wrote. The new single, described as a bold exploration of love, heartbreak, and self-discovery, showcases the band’s signature blend of dynamic vocals and vibrant instrumentation. Fans can listen to Out of Our Minds   here . Young Maltese Musicians Shine on European Stage Two young Maltese musicians, Isaac Azzopardi and Bettina Farrugia, have been making waves in the European music scene, representing the island with extraordinary talent and passion at prestigious international events. Isaac Azzopardi: Rising Star in Electric Guitar At just 15 years old, Isaac Azzopardi emerged as a European finalist in the Tour Music Fest, a renowned music competition held in San Marino, Italy, on November 28th. Performing Jimi Hendrix’s iconic Voodoo Child in front of a panel of esteemed international judges, Isaac showcased the guitar prowess that has been earning him recognition across the continent. Isaac’s journey began with inspiration close to home—his father’s guitar—and grew under the influence of musical legends such as Slash of Guns N’ Roses, Bon Jovi, and Carlos Santana. Last year, he stunned audiences at San Remo, representing Malta with pride and describing the experience as a “highly enjoyable musical journey.” Isaac recalls the challenge of following the winners’ announcement in Italian but cherishes the pride of standing on an international stage. Isaac also captivated audiences closer to home at an event hosted by X-Vandals last December, where his band, Electric Echoes, performed alongside Animamortua, Oblique Visions, Delirium MT, and Valiantis. Reflecting on the event at The Garage, Isaac highlighted the support from the crowd and described the performance as a “cool, new experience.” On January 5, 2024, Melodija.eu  published an article titled Electric Echoes: Malta's Youngest Rock Band - From San Remo to Sharing the Stage with Delirium MT and X-Vandals . The full article is available here . This year, Isaac continues to grow musically with the band Freefall, a soft electric ensemble that includes his brother Jake, Carlos Pulis, and Nicole Magro. Looking ahead, Isaac dreams of furthering his music studies abroad while continuing to perfect his craft on the guitar. Bettina Farrugia: A Composer with Star Power Also making a name for herself at the Tour Music Fest was 18-year-old Bettina Farrugia, who competed in the Musicians Category with her original composition, Waltz of the Stars. Bettina’s smooth melody enchanted both judges and the audience, further solidifying her reputation as an extraordinary young composer. Bettina first captured national attention in 2022 when she earned the golden buzzer on Malta’s Got Talent at just 16 years old, performing another of her original compositions. Her ability to craft intricate, emotive pieces has set her apart as one of Malta’s most promising musicians. A Promising Future for Maltese Music Isaac and Bettina’s achievements highlight the wealth of young talent in Malta and their ability to compete on an international level. Their performances at the Tour Music Fest are not only a testament to their skill but also an inspiration to other aspiring Maltese artists. As these young musicians continue to develop their craft, the future of Maltese music looks brighter than ever.

You might remember that Damaged & Co. had to pull out of the gig at 97 Notes on December 13th.  Performing live is our passion and this was not done out of capricious reasons.  Due to personal reasons, which we fully understand and appreciate, Ismael Bonello had to take a step back and the drum stool was once again vacant.  We wish to thank Ismael for his contribution and wish him luck for future endeavours.  He will always be part of this damaged family. But worry not, we have a more than suitable replacement and an announcement in that respect will be out shortly.  In the process the band have kept their creative juices flowing and are writing new material for future recording. We already have announced a gig at The Garage with some very special friends.  Cirque du Carnival is scheduled for February 22nd, 2025.  It will be a fun event just before carnival.  There might be other gigs before Cirque.  Follow our page for announcements.  We are ready to rumble, are you? 17.12.2024

Jubilate: Exploring Hope and Joy at Schola Cantorum Jubilate’s Christmas Concert Schola Cantorum Jubilate (SCJ)’s Christmas concerts are a fixture in Gozo’s Christmas calendar, with the choir having organised trailblazing and widely attended choral evenings since the year 2000. On Saturday 28 December 2024 at 19.30, SCJ will be sharing with the audience another unforgettable choral experience with Jubilate. Set within the magnificent Ta’ Pinu National Shrine in Gozo, Jubilate’s repertoire includes popular traditional pieces by Holst, the ‘Christmas Composer’ John Rutter, and musical arrangements by David Willcocks. The audience will also be treated to pieces from contemporary composers, including Dan Forrest, Malcolm Archer, and Terre Roche. One of the highlights of the evening will be a captivating arrangement for male voices by SCJ composer-in-residence Paul Portelli. In this piece, Portelli weaves a dialogue between the organ and piano, bringing St. Alphonse M. De Liguori’s text Tu Scendi delle Stelle, profoundly to life. The concert features the SCJ Adults Choir, joined at times by the SCJ Teenage Boys, with pianist Anna Magrin and organist Joseph Camilleri, all under the direction of Marouska Attard. “Our selection of songs for this evening includes both the timeless and the new,” explains Marouska, the choir’s conductor and herself a soprano. “We added familiar carols alongside fresh arrangements and new contemporary choral pieces, all of which reflect the beauty and diversity of the Christmas season. We hope that each note brings warmth in our audience’s heart and helps them experience the true meaning of Christmas: peace, joy, and goodwill toward all.” Jubilate - meaning rejoice - will explore the realms of joy and hope. The audience will get to experience the essence of the Christmas season as well as explore the Roman Catholic Church’s Jubilee Year call for the faithful to be Pilgrims of Hope. These themes will come together through an expertly curated musical repertoire, projections and literature, giving a contemporary feel to the traditional Christmas concert. “Hundreds of concerts are organised in December, but at SCJ, we try to give something unique to the attendees that reboots moods and perspectives towards life,” observes Artistic Director, Stefan Attard. “The notes on the scores are given a tonality to convey a message that gives a new breath to the actual story of humanity. The lights, projections and literature embellish the whole event and facilitate a real journey within the inner self, in this special time of the year,” he continues. Through Jubilate, SCJ will pay homage to the late Mro Stephen Attard, SCJ’s first accompanist, composer and poet who supported the choir’s musical endeavours from the choir’s first days. The concert also marks the opening of SCJ’s 25th anniversary and will be succeeded by a year of events that celebrate the choir, its role in the development of Malta’s choral landscape, and the diverse interpretations and artistic expressions that bring choral music to life. The title, Jubilate, is in fact a nod to the choir’s name and its beginnings in the Great Jubilee 2000. Jubilate is a must-attend event for those looking for an ethereal choral experience this Christmas. Jubilate is supported by the Directorate Cultural Heritage within the Ministry for Gozo and Planning. Entrance to the concert is free of charge and no booking is required. For more information please visit www.scjchoir.com . Follow the choir on Facebook and Instagram for updates.

You cannot attend a metal concert and not hear the phrase ‘let me see those horns in the air.’  All of a sudden the air is filled with hands reaching towards the sky, making the sign of the horns.......... la mano cornuta .  Singer Ronnie James Dio is often credited as being the one to make this sign popular with metalheads, but what does it mean and was he the first to introduce the gesture to the masses?   Symbolism The sign of the horns is very popular gesture in Mediterranean cultures, especially Italy.  It is mainly given to ward off bad luck or the evil eye ( malocchio ).  Hors in Italian are corna , thus the phrase mano cornuta  – horned hand.  For a good measure the Italians accompany the gesture by the phrase “Tèee! ”, derived from the tieni (hold it).  The gesture can also come to mean that you are referring to someone as cuckold.  Migrants from the Mediterranian region to other parts of the world carried with them their traditions, including superstition such as the mano cornuta .       This sign is not confined only to the Mediterranean region.  In neo-pagan religions, such as Wicca, the gesture might symbolise the Horned God and it is considered as a traditional salutation in LaVeyan Satanism.    In Hatha Yoga, a similar gesture is believed to rejuvenate the body, whilst in Buddihism this gesture is used to expel demons, ward off evil and remove negative energy.  Use by musicians One of the first references is a recording by the New Orleans Owls, ‘Throwin’ the Horns’, released by Colombia Records in 1927.   In the series Rock n Roll Renegades (aired during 1995), Ike Turner, while being invterviewd stated that back in1951, he used the sign of the horns while performing Howlin’ Wolf’s blues song ‘How Many More Years’. In 1969, Chicago-based psychedelic-occult rock band Coven, released their album Witchcraft Destroys Minds & Reaps Souls, through Mercury Records.  On the back album cover, band members standing behind singer Jinx Dawson, are pictured giving the sign of the horns.   According to Dawson, she used the sign as far back as 1967.   The sign of the horns in heavy metal When in 1979 Ronnie James Dio replaced Ozzy Osbourne in Black Sabbath he had very large shoes to fill.  Some might argue that technically Dio is a far better singer than Ozzy, but the latter has a charisma that is hard to match.  Apart from the constant bantering around the stage, Ozzy would raise his hands in the air making the peace or victory sign.  On the first tour fronting Black Sabbath, maybe to connect better with the fans, Dio opted to use the sign of the horns as his hand gesture of choice.  According to Dio, his grandmother, who was of Italian descent, used it to ward off evil eye ( malocchio ).     Interestingly enough this was not the first association of Black Sabbath with the sign.  There is a photo dating back to 1969, ten years before Dio joined the band, showing founder Geezer Butler raising the horns.  This rare photo was included in the cd booklet of ‘Symptom of the Universe: The Original Black Sabbath 1970-1978’ compilation album.  This shows that the association of the mano cornuta with metal goes even further than the Dio association, though it was he who popularized it and now it is a uniting symbol for the metal masses.    During an interview in 2001 he had the following to say: “ I doubt very much if I would be the first one who ever did that. That's like saying I invented the wheel, I'm sure someone did that at some other point. I think you'd have to say that I made it fashionable .” Taking it one step back, though the Beatles are not assosciated directly to heavy metal, in 1967 John Lennon was photographed making the sign of the horns during a photoshoot for their upcoming cartoon movie Yellow Submarine.  Even on the official movie poster for the movie, issued in 1968, the cartoon character depicting Lennon is making the same gesture. According to CBS News, Gene Simmons, of KISS fame, made an attempt to patent the ‘devils horns’ as his own through an application filed with the United States Patent and Trademark Office on June 16, 2017.  The version Simmons was alluding to was the ‘I Love You’ gesture in American sign language, with the thumb, index, and pinky finger extended.  Seeing that this was a mission impossible, Simmons abandoned his application on June 21st of the same year. Irrispective of what it means and who ever introduced it to the metal circles the gesture has become part of who we are and what we feel comforatble doing at metal concerts.  A hand gesture that unites us against the evil that tries to destroy the music we live for and what we love most dearly.  “Tèee!”

Beangrowers, an indie rock trio that emerged in the 1990s with a sound that brought a refreshing blend of indie rock, punk, and gothic tones to both local and the European music scene. The group consists of Alison Galea on vocals and guitar, Mark Sansone on bass, and Ian Schranz on drums and electronic effects. Known for their unique blend of guitar-heavy indie rock combined with electronic and punk elements, Beangrowers became one of Malta's most celebrated bands with a fanbase extending across Germany, New Zealand, and other parts of Europe. Early Beginnings and Formation The roots of Beangrowers trace back to the childhood friendship of Schranz and Sansone, who met at church and later pursued music together. The duo was soon joined by Galea, whose vocal style—with its distinctive, vaguely British-accented tone—added a layer of sophistication to the group’s evolving sound. Despite initially experimenting with a number of fourth members, the trio ultimately solidified as a three-piece band. Their name, "Beangrowers," came from a fan’s suggestion after a promoter demanded they provide a title for an event—a whimsical origin that matched the quirky spirit of their music and band ethos. Musical Evolution and Early Success Beangrowers quickly gained traction by recording demo tapes filled with sounds from 1950s science fiction movies and computer-generated noise, reflecting their experimental approach. In 1996, when the band members were only 18, they travelled to Germany to perform, sparking a robust reception that paved the way for their later success in Europe. Their debut single in 1999 gained traction on the Deutsche Alternative Charts, and that year, their track "José Clemente" even reached No. 7 on New Zealand charts, securing them steady rotation on Juice TV, New Zealand’s equivalent of MTV. European Presence and Major Releases Throughout the 2000s, Beangrowers found a foothold in Europe, particularly Germany, where they built a loyal fanbase while signed to Rough Trade's German division. They toured alongside notable bands like Elbow, Stereophonics, and dEUS, further solidifying their reputation. Their albums, including 48K  (1999), Beangrowers (2001), Dance Dance Baby  (2004), and Not in a Million Lovers (2008), showcased the band’s evolution from lo-fi indie rock to more polished productions while retaining their signature sound. Songs like "Teen Titans" encapsulated their outsider stance in the music industry, a sentiment further echoed in their lyrics, "We never listen to the radio." Film Collaborations and Critical Recognition The band's music caught the attention of acclaimed director Wim Wenders, who included their song "The Priest" from the Dance Dance Baby  album in his 2004 film Land of Plenty . This recognition contributed to their international profile and led to further cinematic collaborations. Galea later contributed her voice to the soundtrack of Wenders’ 2011 Academy Award-nominated documentary Pina , a tribute to dancer and choreographer Pina Bausch. In 2012, Beangrowers also worked on the soundtrack for Rick Bota's film Love Me . Recent Work and "Dystopia" After a period of reduced public activity, Beangrowers released their single "Dystopia" in 2019. The track presented a melancholic reflection on urbanization and societal change, mirroring contemporary concerns in Malta. Accompanied by a retro-styled music video with vintage footage of buildings being destroyed in reverse, "Dystopia" added a socio-political edge to the band’s discography. The song’s lyrics, "The past is gone, To dust you go, And on and on, The plan it goes," conveyed a lament for lost autonomy amid relentless development, resonating with Maltese listeners amid Malta's rapid infrastructural changes. Legacy and Influence Beangrowers' musical style has been shaped by a broad spectrum of influences, including alternative rock and post-punk icons like Violent Femmes, Joy Division, and Pixies. The band openly acknowledged their admiration for these groups, drawing from the raw, pop-oriented songwriting that characterized bands like The Cure, Nirvana, and Depeche Mode. Galea's diverse influences also include 1960s and 1970s rock, 1980s new wave, and 1990s grunge, creating a nuanced approach to Beangrowers’ indie rock foundation. Over the years, they have remained a beloved part of the Maltese music scene, celebrated for their contributions to Malta’s cultural landscape and for expanding the country’s presence in alternative rock. Despite their relatively niche following in mainstream English-speaking markets, Beangrowers’ innovative sound and dynamic live performances have made them pioneers of Malta's indie rock export. Their ability to weave elements of indie, punk, and electronic soundscapes, along with their cinematic contributions, has cemented their legacy as one of Malta's most significant and enduring musical acts. Bibliography "Beangrowers." Wikipedia, The Free Encyclopedia . "Beangrowers." Maltese Music Project (M3P) . "Music Talk: Beangrowers Back with a Bang." Times of Malta , 14 Sept. 2011. Azzopardi, Jean Paul. "Maltese Indie Rock Legends Beangrowers Drop New Single 'Dystopia'." Lovin Malta , 30 July 2019.

Robert Farrugia Releases New Single Robert Farrugia Releases ‘Qabru’ Ahead of upcoming soundtrack album ‘Natura Maltija’ Maltese ambient artist Robert Farrugia releases ‘Qabru ahead of new soundtrack album ‘Natura Maltija’, providing a playful, ambient-inspired score of hardware synthesis and orchestral instrumentation to beautiful multi-part Maltese nature documentary. Check out ' Qabru ' Photo Credit: Eliza Von Brockdorff About 'Qabru' ”Qabru" [Eng: Maltese Freshwater Crab] is a deeply atmospheric and emotional track, designed to reflect the vulnerability of the Maltese freshwater crab and the broader theme of environmental destruction. With its drone-like soundscapes, layered synthesisers, and delicate piano motifs, the piece creates a somber, reflective atmosphere. The sparse, minimalistic structure and slow pacing evoke a sense of stillness, fragility, and time passing, emphasising the irreversible impact of habitat loss and potential extinction. As one of the more emotional tracks on the Natura Maltija soundtrack, "Qabru" encourages listeners to pause and reflect on humanity’s effect on nature. 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. 1. Bugeddum 2. Bufula 3. Fkieren 4. Lhudi 5. Qabru 6. Merill 7. Gamiem 8. Ballottra 9. Qarnita 10. Tema Pre-save the album Here! 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. Watch Here! All Our Releases Want to help both the artists and the label, plus get some killer music in return? Check out our store to purchase some limited edition cassettes, vinyl and more! Kewn Records on Bandcamp Kewn Records on Facebook Kewn Records Website Copyright (C) 2024 Kewn Records. All rights reserved.

Get ready to rock your holiday season with a night of relentless metal!  Following the resounding success of last year’s debut edition, Haine is back with Haine and Friends – Second Edition : a celebration of local talent, earth rattling breakdowns, and the unmatched camaraderie of the Maltese metal scene. Mark your calendars for Saturday, December 21st , and head to The Garage, Żebbuġ , as Haine takes the stage alongside a lineup that promises to shake the walls and set the perfect tone for your metal holiday spirit. Doors open at 8:30 PM , and you won’t want to miss a moment of this monumental night. What Makes Haine and Friends – Second Edition Unmissable? This year’s edition is not just another gig—it’s a collaborative celebration of Malta’s vibrant metal scene. Haine will be joined by a killer roster of guest artists, each adding their unique touch to the show. Expect fresh takes on Haine’s signature sound and a setlist packed with surprises, including a live debut  of their brand-new single, "The Lake" , set for release on December 13th. This event is about more than music—it's about unity . "We want this event to be an opportunity for musicians to come together and enjoy playing alongside one another in ways that might not usually happen," says Haine. "It's a celebration of friendships and the sheer talent in the local metal scene." Special Guests & Surprises Await So far, Haine has announced yet another incredible lineup of guest bassists and drummers, with more surprises still to come: Bassists : Timothy Garrett ( Geistmaschine, Krishna , Double Standard ), Leander Lanzon ( Align the Tide ), and KyleAnthony Cortis ( Luciferi Regnum ). Drummers : David Depasquale ( Abysmal Torment , ClubMurder ), Justin Caruana (Grotium, The Marmalades) . Vocalists: Tyrone Mifsud ( MartYriuM ) - Sol Pearson ( Align the Tide ) - Keith Falzon ( ClubMurder ) - Miguel Ángel Sarmiento ( Halcyon, No Humano, Sonic Storm ) - Edward Tagliaferro - Lilith Macabre ( Luciferi Regnum ) - Kian Sullivan. The full list of guest guitarists will be revealed as the event approaches, so stay tuned for updates. Opening the Night: Geistmaschine’s Grand Finale The night kicks off with Geistmaschine , a post-metal powerhouse delivering their final performance for 2024 before progressing into a new chapter. This is a unique chance to witness the band’s transformation and an unforgettable opening set. A Preview of What’s to Come photos from Haine and Friends 2023 Haine and Friends – Second Edition is also Haine’s last show of the year before the highly anticipated release of their upcoming album, "Fertile Void" , dropping in February 2024. This is your chance to hear new material and experience the next evolution of Haine’s sound before anyone else. As part of the night’s explosive lineup, Additionally, Haine will give attendees an exclusive live debut  of their brand-new single, "The Lake" . Officially releasing on December 13th, 2024 , this track offers a haunting glimpse into the sound and emotion of their upcoming album, "Fertile Void"  (out late-January 2025). photos from Haine and Friends 2023 For those attending Haine and Friends – Second Edition , this is your chance to experience "The Lake" live before anyone else—a raw and unfiltered performance that’s set to become a highlight of the night. Don’t miss this sneak peek into the future of Haine’s evolving sound! Event Details Event : Haine and Friends – Second Edition Date : Saturday, December 21st, 2024 Location : The Garage, Żebbuġ Doors Open : 8:30 PM photos from Haine and Friends 2023 Don’t miss this night of friendship, fire, and ferocity. Spread the word and join Haine and friends as we close out the year in true metal style. For updates, guest announcements, and more, follow Haine on social media and stay in the loop as the event draws near.

On November 24, 2023, Maltese band Weeping Silence released their fifth full-length album, Isles of Lore , under the Swedish label ViciSolum Productions. The album, spanning nine songs, is an ambitious homage to Maltese folklore, weaving together the island’s historical and fantastical narratives. The final track, The Legend of Matteo Falzon , is a remarkable 16-minute opus centred on one of Malta’s most mysterious figures, known as "Is-Sahhar Falzun" or the "Wizard Falzon." But who was Matteo Falzon, and what does history reveal about this fascinating figure whose story lingers on the fringes of myth and reality? Who Was Matteo Falzon? The tale of Matteo Falzon, a figure who blends historical intrigue with local folklore, finds its roots in the accounts of Agostino Levanzin’s Is-Sahhar Falzun . Levanzin, a Maltese historian and writer, drew his version of Falzon’s life from early records by authors like Castagna, Abela, and Ciantar. According to Levanzin’s sources, Matteo Falzon, along with other members of the "Society of True Christians," challenged the religious orthodoxy of his time in Malta. This secretive philosophical group, active around 1530-1545, sought enlightenment through ethics and biblical studies but also explored the works of prominent Protestant reformers like Martin Luther and Erasmus. This openness to ideas condemned by the Church placed them under the ever-watchful gaze of the Inquisition. Matteo Falzon, a respected member of Malta’s city council, was accused of heresy due to his associations and rumoured activities in mystical arts. In 1546, he was initially released after a hearing, but Falzon’s continued popularity and rumoured magical abilities kept him in the Inquisition’s crosshairs. Finally, he was accused of heresy once more, and this time, his punishment was harsher: he was sentenced to life imprisonment. However, even this confinement did not stifle the legend of "Is-Sahhar Falzun." The Folklore of Matteo Falzon While official records suggest Falzon was an intellectual and possibly a dissident, Maltese folklore paints him as something much more intriguing—a wizard with supernatural powers. According to legend, Falzon was once brought before the Inquisitor at Birgu due to his supposed involvement in sorcery. In a twist that added mystique to his already notorious reputation, it is said that Falzon requested a basin of water. Upon plunging his head into the basin, he vanished, purportedly escaping to Sicily by magical means. Soon after, the Inquisitor reportedly received a taunting letter from Sicily, signed by Falzon, asking, "Sir Inquisitor, do you remember me?" This story, immortalized in Is-Sahhar Falzun , has captured the imaginations of Maltese storytellers for generations. The character of Falzon exists somewhere between history and folklore—a man persecuted for his beliefs, yet remembered as a wizard who could traverse lands through enchanted water. Agostino Levanzin’s Literary Contribution Agostino Levanzin (1872-1950), the author who brought Falzon’s story to literary life, was a polymath and Maltese intellectual. Levanzin’s biography is almost as colourful as Falzon’s story. Starting his career as a shipwright apprentice, Levanzin later became a pharmacist, a newspaper editor, and a staunch advocate for public health. He even gained international recognition for his participation in a prolonged fasting experiment at the Carnegie Nutrition Laboratory in Boston. Levanzin’s interest in science, literature, and reform gave him a unique perspective on Malta’s historical figures. His novel, Is-Sahhar Falzun , aimed to shed light on Maltese folklore, questioning the boundary between historical truth and myth. Levanzin’s interpretation of Falzon was heavily influenced by historical accounts, yet he left room for the magical elements that made Falzon’s story endure. While the novel may not be a strict biography, it has become an invaluable record of Maltese folk history. Falzon’s Legacy and the Inquisition’s Wrath In the 16th century, the Maltese Inquisition held absolute authority, and dissent often led to grim consequences. Falzon was a notable target, not only because of his connections with the Society of True Christians but because his family held considerable wealth. The Inquisition used accusations of heresy to confiscate property, and Falzon’s wealth made him a prime target. In 1574, after years of suspicion, Falzon was arrested, likely under fabricated charges to seize his assets. He was reportedly spirited away to Sicily, where he met a violent end, and his property in Malta was subsequently confiscated by the Church. However, rumours began circulating that he had used his supernatural abilities to escape his captors. Another version of this twisted tale recounts how he managed to escape, some even saying he vanished into thin air in front of the Inquisitor. He fled to Sicily, where he instructed a slave to kill him and cut his body into pieces, burying them so that he would be able to reincarnate later on. The servant obeyed but was caught by the Inquisition and revealed the place he had buried the sorcerer after he was tortured. When they opened the tomb, legend goes that the body and bones had started reuniting, so they burned them immediately, destroying the magical powers off completely. ​This tale, intertwined with accounts of his vanishing act, gave rise to his title as Malta’s “Wizard” or "Sahhar." Falzon’s son and nephew, also threatened by the Inquisition, fled Malta to escape similar fates. In their absence, their effigies were symbolically burned in the town square as a form of punishment. Weeping Silence’s Homage to Falzon’s Myth The story of Matteo Falzon was the perfect subject for Weeping Silence’s The Legend of Matteo Falzon , the concluding track on their album Isles of Lore . Known for their fusion of doom and symphonic metal, the band captured Falzon’s complexity in a haunting 16-minute piece. In this composition, Weeping Silence explores Falzon’s life, his persecution by the Inquisition, and his transformation into the legend of Malta’s “Wizard.” The music brings the essence of Maltese history and folklore to life, mirroring the tension between Falzon’s intellectual pursuits and the supernatural aura that surrounds his story. During an interview with the band as their album was approaching release, Julian Mallia described the intricate structure underlying the song. Naturally, I reached out for his insights for this article as well. Here is his response, quoted verbatim: “The Legend of Matteo Falzon” explores the universally relatable narrative of a misunderstood individual who was demonised / persecuted for not fitting in with conventions - through the language of progressive metal. The structure of the song roughly follows the Three-Act Structure - a narrative model that is often used in cinema, theatre, literature, etc. This structure can be represented in the form of a graph illustrating tension-levels vs time. * Using the graph and the Sahhar Falzun story as a guide, I matched tension-levels with corresponding, previously recorded, band jamming ideas to create a rough music-collage. Since this track was designed during the Covid-19 lockdown phase, I had ample time outside the usual band environment to experiment and go through a, mostly forgotten, archive of casual jamming sessions.  Then when we started meeting again, all band members started to fill-in the gaps, generate new riffs, solos, lyrics and beats and gel ideas together. So ultimately this was a group effort that required every band member’s indispensable input. The gelling part took quite a while because the priority was to create something musically interesting-yet-catchy and to convey Falzun’s very-metal story within the context of the album. In fact, in the initial stages, Dario used to tease me that I’m delivering lectures :) But, coming from a background of fine art, I personally feel that it is this type of unconventional bridging of disciplines that makes a track genuinely “progressive”. Nerdy details throughout the song include: 1) The “Falzun music theme” in the intro is in 5/4 whereas the “Inquisition music theme” is in 7/4 - because they are “at odds” with each other. 2) The “Falzun music theme” that doubles as a chorus is repeated 3 times. But each chorus has slight differences and is in a different tempo - implying Matteo Falzon’s character arc / his gradual transformation. 3) The drum solo on top of an ostinato music pattern (4:46) represents Falzon’s devious escape (right in front of the Inquisitor) through a water barrel. 4) The dramatic staccato section (8:11) represents the part of the story when Matteo Falzon ordered his servant to chop him into pieces. 5) The melancholic piano solo (9:25) represents the low point when Matteo Falzon’s original plan is thwarted. 6) The epic guitar solo (14:15) represents Matteo Falzon’s bittersweet triumph / catharsis through the ashes. 7) Lyrics are loosely based on factual occurrences which are, of course, sprinkled with a generous dose of poetic licence. However, the open-ended, haunting, recurrent lyric “Remember me” is based on an actual taunt that Matteo had allegedly sent to the Inquisitor via a letter.   The Enduring Fascination with Malta’s Wizard Falzon’s tale has continued to intrigue Maltese audiences, inspiring recent publications like Matti Falzun tal-Imdina  by Monica Gatt, published by BDL in 2023 a novel depicting Mattew Falzon’s son. In the end, Matteo Falzon’s story remains a powerful reminder of Malta’s rich and sometimes dark past. The musical tribute by Weeping Silence breathes new life into his legacy, ensuring that “Is-Sahhar Falzun” lives on, not just as a historical figure but as a symbol of resistance, mystery, and the blurred lines between history and legend. * Background: I had delved into this narrative structure extensively during my Masters course in the UK. Fun fact: The course MA Sequential Design / Illustration at the University of Brighton was founded by George Hardie, the designer behind the album art of “The Dark Side of the Moon” (while he worked with Hipgnosis alongside Storm Thorgerson). Listen ‘The Legend Of Matteo Falzon’ Bibliography Agostino Levanzin. Is-Sahhar Falzun . Malta: [Publisher not listed], c. early 20th century. Buttigieg, Noel. “Agostino Levanzin and the Carnegie Nutrition Laboratory Experiment.” Riċerka fuq l-Istorja  - Historical Research Group (Malta), Facebook. Gatt, Monica. Matti Falzun tal-Imdina . Malta: BDL Publishing, 2023. Times of Malta. “Matteo Falzon, the Man Behind the Myth.” Accessed October 2023. Wikipedia contributors. “Matthew Falzun.” Wikipedia, The Free Encyclopedia , last modified [Last modification date]. “The Legend of Mateo Falzon” by Weeping Silence Brief Overview by Julian Mallia (Weeping Silence drummer)

The Pentagram The word pentagram essentially means five lines.  It is derived from the Greek Work pentagrammon , made up of pente  (five) + grammē (line).  What it refers to is to a five-pointed star.  When the star is encircled then it is referred to as a pentacle.    The origin of the use of pentagrams is shrouded in the mists of time.  Earliest archeological evidence for the use of this symbol dates to Sumerian period (c. 3500 B.C.E.), where it was found etched on pottery.  The five-pointed star was also used to symbolize both Ishtar and Marduk.  Ancient Chinese artifacts dating back to the Liangzhu culture (c. 5000 years ago) also show pentagrams.    The ancient Greeks had knowledge and used this symbol as early as the 7th century B.C.E.  Pythagoras and his followers (6th century B.C.E.) used this symbol for mutual recognition.  For them it symbolized wellbeing.    For the ancient Jews (300 – 150 B.C.E.) the pentagram stood as the symbol of Jerusalem, each point of the star marked by the five Hebrew letters spelling its name. It might come as a surprise to some, but during the Middle Ages the pentagram was used by Christians, representing for them the five wounds of Christ.  The unknown author of the 14th century English poem Sir Gawain and the Green Knight,  places the pentagram on the shield of Gawain.  He narrates that the symbol originated with King Solomon and for Gawain it represented perfection:   Gawain is perfect in his five senses and five fingers, faithful to the Five Wounds of Christ, takes courage from the five joys that Mary had of Jesus, and exemplifies the five virtues of knighthood, which are generosity, friendship, chastity, chivalry, and piety.    The inverted pentagram found on the rose of Amiens Cathedral (dating back to the 13th century) is supposed to represent the Holy Spirit descending on people. During the Renaissance period, Heinrich Sornelius Agrippa and other occultists started using the pentagram as a magical symbol, each point of the star representing the five neo platonic elements (earth, air, fire, water, and space).      By the mid-19th century occult practices had taken root in Europe and further theories were put forward.  One of the most interesting for the purpose of this article is that coined by the French esotericist, ceremonial magician, poet and writer Éliphas Lévi Zahed (born Alphonse Luis Constant 1810 – 1875).  Lévi is also responsible for the image of Bapomet we are familiar with today.  He believed that when the pentagram was with a single point upwards, it depicted the spirit presiding over the four elements and this was a sign for good.  On the other hand, when the pentacle was reversed it represented evil.  In his books Transcendental Magic, Its Doctrine and Ritual (1896), he explains the following:   "A reversed pentagram, with two points projecting upwards, is a symbol of evil and attracts sinister forces because it overturns the proper order of things and demonstrates the triumph of matter over spirit. It is the goat of lust attacking the heavens with its horns, a sign execrated by initiates."   In his book The Key of the Mysteries  (1859), Lévi takes things a step further and introduces the readers to the association of the inverted pentacle with the goat of black magic.   "The flaming star, which, when turned upside down, is the heirolgyphic [sic] sign of the goat of black magic, whose head may be drawn in the star, the two horns at the top, the ears to the right and left, the beard at the bottom. It is a sign of antagonism and fatality. It is the goat of lust attacking the heavens with its horns."   The pentagram is also utilized in ceremonial magic for the sake of protection against the forces of evil.   Éliphas Lévi claimed that " The Pentagram expresses the mind's domination over the elements and it is by this sign that we bind the demons of the air, the spirits of fire, the spectres of water, and the ghosts of earth. "  Alister Crowley also made use of the symbol in his system of magick used in Thelema.  Contradicting his old fellows from the Hermetic Order of the Golden Dawn, he did not consider the inverted pentagram as ‘evil’ but as the triumph of matter over spirit. The encircled pentagram is also wildly used by neo-pagan religions, such as Wicca.  Many people associate the neo-pagan interpretation of the symbol as Satanism, but the two religions are as different as can be.  Neo-pagans do not believe in an entity such as the devil.  For them this symbol represents the unity of the four elements and spirit.  The association of the inverted pentagram with Satanism, sometimes incorporating the head of Baphomet, was popularized by American occultist Anton LaVey (1930 – 1997), when he founded the Church of Satan in 1968.  LaVeyan Satanists pair the goat head with Hebrew letters at the five points of the star to form the Sigil of Baphomet.  This was adopted by other Satanist organizations as their symbol.  Other religions and associations use the pentagram or inverted pentagram as their symbol but that will be superfluous for the scope of this article. Use of the inverted pentagram / Sigil of Baphomet in Metal. Many accusing metal bands of being evil or satanic, point out at the use of the inverted pentagram or Sigil of Baphomet as prime evidence.  Whilst there is a sub-genre of metal that devotes its efforts to proselytize Satanism through their music, more often than not, symbolism associated with ‘evil’ such as the inverted pentagram and the Sigil of Baphomet are used for their shock value.  The list of bands utilizing such imagery is inexhaustive, so I would be limiting myself to the pioneers, the bands that got there first. The first band to be associated with this symbol is Pentagram  from the United States.  The fascination by subjects surrounding God and the devil led to the band to adopt this name in 1971. Curiously, the doom legends, changed their name to Macabre for their first single in 1972, but in 1973 they changed back to Pentagram when they released their demo and another single.  Their first single released in 1972, including “Be Forewarned” and “Lazy Lady” does not include any imagery.  The use of the inverted pentagram and Sigil of Baphomet kicked off when Cronos, singer with the band Venom, used his own take of the symbol for the groups 1981’s release of the single “In League With Satan / Live like and Angel” (released 19 April 1981) This was followed by the release of their first album, Welcome to Hell, in December 1981.  In December 1983, extreme metal band Slayer, used their band logo, set over an inverted pentagram, made up of swords and a sword brandishing goat headed character, as artwork for the release of their debut studio album, Show No Mercy . More to cause controversy than other thing else, glam metal band Mötley Crüe, rode on the wave of “Satanic Panic” gripping America at the time, and splashed an inverted pentagram as artwork for their second studio album, Shout at the Devil, which was released on September 23, 1983. A year later, in 1984, Swedish extreme metal legends Bathory, released their self-titled debut album.  The cover features a large pentagram on the back.  As front artwork the band made use of a goat head, minus the pentagram, this becoming one of the most iconic images of black metal.  English trash metal band Onslaught released their debut studio album, Power from Hell , in February 1985.  The artwork depicts an armed demon rising from a pentagram.     Death metal pioneers Morbid Angel, integrated an pentagram, complete with inverted cross, into their logo from their start in 1986.  This would be repeated by countless other bands over the years.  In 1989, Swedish black/death metallers Treblinka, also integrated the pentagram in their logo, and this was used on the artwork of their demo The Sign of the Pentagram.  In 1989 Darkthrone introduced their new logo designed by Tassilo Förg, Gylve "Fenriz" Nagell, and Tomas Lindberg (At the Gates), incorporating a pentagram with the band’s name.  This was first used on the release of Cromlech  on tape. In 1990, Florida death metallers Decide, a band that never shied away from Satanism, decorated the inner sleeve of their first, self-titled, album with ‘trifixion’, a symbol of their own making consisting of three inverted crosses with two pentagrams.  A three-dimensional version of ‘trifixion’ adorns the cover of their second album Legion , released in 1992. Also in 1990, Finnish black metal pioneers Beherit released Dawn of Satan’s Millenium  EP, featuring iconic artwork by Chritophe Moyen.  Another band worth mentioning, for having the inverted pentagram as part of their logo, are the Swedish black metal veterans Dark Funeral (founded in 1993).  Norse black metal act Gorgoroth released their debut album Pentagram  in 1994 but no pentagram is shown on the sleeve or disk.   In 1994, Cradle of Filth released The Principle of Evil Made Flesh.  Though there is no pentagram displayed on the main artwork, it can be found printed on the vinyl. Formed in 1993, the English symphonic black metal band Hecate Enthroned, incorporated the Sigil of Baphomet as part of their logo. Brazilian death metal masters Krisiun used a huge bloody inverted pentagram, with four inverted crosses, as artwork for their debut album Black Force Domain, issued in 1995.  In 1996 Melechesh released their first EP The Siege of Lachish, also featuring an ornate version of the pentagram on their cover. Dimmu Borgir released Enthrone Darkness Triumphant  in 1997.  The album artwork hints at a pentagram behind the main figure.  Yet, as from this album, their logo was changed to a cleaner design Another hit of the use of a pentagram comes with 2002’s Anthrax release of their album We’ve Come For Your All.  Though it’s not straight in your face, the pentagram-like design was cleverly designed to show the A from the band’s logo. A unique blend of a massive black pentagram and weed leaf adorns the album artwork for A Lethal Dose of American Hatred,  released by Superjoint Ritual in 2003. Swedish melodic death metal band Arch Enemy were not shy in using the pentagram on shirts and merchandise, but it was incorporated in their logo in 2006.  To close the list, I chose the logo of a Maltese black metal one-man songsmith, which I have at heart.  Saħħar  has been delivering a steady flow of releases since 2006.   His logo is inspired by the Sigil of Baphomet. Conclusion This is a very short and exclusive list of metal bands who make use of the pentagram or the Sigil of Baphomet as part of their logo album cover artwork.  There are hundreds more that I have left out.  Try to find some out and listen to their music.

Angelcrypt Announces Drummer Lineup Change and Exciting Updates "Dear fans and friends, With heavy hearts, we announce that our beloved drummer, Robert Friggieri , has parted ways with Angelcrypt. Robert has been more than a bandmate; he’s been a brother, a source of inspiration, and a vital force in our journey. From unforgettable moments on stage to countless memories on the road, Robert’s incredible talent and vibrant energy have left an indelible mark on the band. We wish him nothing but success and happiness in his future endeavours. In the wake of this transition, we’re thrilled to announce that Paul Formosa , our official session drummer for Dawn Of The Emperor , will step in temporarily. Paul has already laid down the drums for our upcoming single, and his performance is nothing short of phenomenal. We can’t wait to share this new music with you! Stay tuned as we unveil the single’s title and artwork soon." 2025 European Tour Still On Track "We are excited to confirm that our much-anticipated 2025 European headline tour  will go ahead as planned. We’re eager to hit the road again, reconnect with old friends, and meet many new faces along the way." Search for a New Drummer "As we move forward, Angelcrypt is actively seeking a permanent drummer to join our family of madness. We’re on the lookout for a skilled, outgoing musician who’s ready to bring their passion and energy to the stage. International applicants are encouraged to apply! If you’re interested in auditioning, please contact us at angelcryptband@gmail.com ." Message from Frontman Shawn Mizzi “Our new single is nearly finished and in the final stages of production—I truly believe it’s our best one yet! Get ready for something catchy and unforgettable. In addition, the preparations for our 2025 European tour are coming together beautifully. We already have some promising candidates for the drummer spot and can’t wait to share more news soon. See you all on the road!” "Thank you for standing with us through every twist and turn of our journey. Your support means the world to us." Metal Forever! 🤘 Shawn, Jean, & Karl Angelcrypt

Michel de Nostredame (1503 – 1566), known also by the Latinised version of his name Nostradamus, was a French astrologer, apothecary, physician, and reputed seer, who is best known for his book Les Prophéties (published in 1555), a collection of 942 poetic quatrains allegedly predicting future events.  Michel de Nostredame Michel de Nostredame, or Nostradamus, as his name in Latin would read, was born in December 1503 at Saint-Rémy-de-Provence, Provence, Kingdom of France.  His father was originally Jewish, but converted to Catholicism, many years before Michel was born.  He studied at the University of Avignon and worked as an apothecary for several years, before returning to his studies at the University of Montpellier.  He was unceremoniously expelled when his trade as apothecary was discovered.  A manual trade was forbidden by university statutes.         He married in 1531 but tragedy struck in 1534 when the plague re-appeared, losing to it both his wife and his children.  He worked tirelessly against the plague.  He remarried to Anne Ponsarde, with whom he had six children.  In 1550 he wrote an almanac and the success of the first edition provided him with an opportunity of keep on writing them.  He started to work as an astrologer and acquired numerous wealthy patrons such as Catherine de’ Medici.  His most famous work is Les Prophéties, published in 1555.  This collection of 942 poetic quatrains, allegedly predicting future events, at first received mixed reception.  He died on 1 or 2 July 1566, after suffering from severe gout toward the end of his life.    Few remember Nostradamus as an astrologer, apothecary or physician but the debate on whether he was a seer or not rages on till this very day.  Many books were published trying to explain the real meaning behind the quatrains.    Did he foresee this? Nostradamus might have foreseen many events in the future, but did he foresee that his life and work would influence albums and songs by rock and metal bands?   Iron Maiden poke fun at the seer and his believers in “Die With Your Boots On”, a song from their 1983 album Piece of Mind .  “Another Prophet of Disaster Who says the ship is lost, Another Prophet of Disaster Leaving you to count the cost. Taunting us with Visions, Afflicting us with fear, Predicting War for millions, In the hope that one appears.” English rock band, formed by South African born musician Manfred Mann – Manfred Mann's Earth Band – released their album Somewhere in Afrika.  This album contains the song “Eyes of Nostradamus”, which is a cover version of an Al Stewart originally titled “Nostradamus.”   Several songs by English rock band The Stranglers contain references to Nostradamus' prophecies: "Goodbye Toulouse" (1977), "Shah Shah a go go" (1979), "Four Horsemen" (1980), "Top Secret" (1981), "It's a Small World" (1983).   Another song “Nostradamus” can be found on the studio album Project Driver , released by M.A.R.S in 1986.  American Alternative rock band They Might Be Giants, mention briefly Nostradamus in their song “My Evil Twin” released in 1992 as part of their album Apollo 18.     “My evil twin, bad weather friend He always wants to start when I want to begin It scares me so, like I scare myself With that book of Nostradamus up upon my shelf” English neo-prog band Pendragon included a song entitled "Nostradamus (Stargazing)" in their album The Window of Life (1993).   German symphonic metal band Haggard took it even further by producing two albums dealing with Nostradamus, And Thou Shalt Trust... the Seer  in 1997 and Awaking the Centuries  in 1998.   Swedish metal band Darkane, in their album Rusted Angel , have included the track “July 1999”, dealing with a prophecy by Nostradamus.    Bulgarian guitarist Nikolo Kotzev released a rock opera called Nikolo Kotzev's Nostradamus  in 2001, based on the life and times of Nostradamus. In 2005, Dutch band Kayak released a rock opera called Nostradamus – Fate of Man .   German power metal band Helloween's 1996 album The Time of the Oath  is based on Nostradamus' supposed prophecy of a world war between 1994 and 2000.   In 1997, Finnish metal band Stratovarius recorded Visions , a concept album loosely based on the life and prophecies of Nostradamus. One of the most famous albums on the seer certainly is Nostradamus .  This album was released in 2008 by British heavy metal band Judas Priest.  This concept album focuses on Nostradamus' life and his prophecies.   There are many more references to Nostradamus in songs, this is by no means an exhaustive list, but just touching on some rock and metal acts that have included a reference to the seer in their work.     References: https://en.wikipedia.org/wiki/Nostradamus

Ritual Meditations , an LP composed by Charles Camilleri and released in 1978 by Waterloo Music Co. Ltd., captures the essence of cultural synthesis and musical exploration characteristic of Camilleri's work. Known for his pioneering approach in blending Mediterranean, African, Asian, and Western influences, Camilleri’s work on Ritual Meditations  demonstrates his distinctive style of "world music"—a form he dedicated to unifying diverse musical traditions in a universal, meditative experience. The album, featuring prominent percussionist Charles Gatt, engages listeners with its rhythmic complexity and spiritual intensity, leaving a lasting impression on Malta's contemporary music scene. The album comprises five tracks divided into two sections. Side A opens with Three Spiritual Meditations , a series of pieces symbolizing sacred invocations: “Veni Creator Spiritus,”   “Alma Redemptoris Mater,”  and “O Magnum Mysterium.”  These meditative tracks, executed on instruments such as bongos, congas, tambourines, and cymbals, create a spiritually resonant atmosphere. Percussionist Charles Gatt, widely regarded as Malta's "father of jazz," interprets the pieces with a profound rhythmic insight, enhancing the meditative and transcendent quality of the music. His skilful use of different percussion instruments establishes a rhythmic pulse while simultaneously exploring fluid, atomized beats—a technique Camilleri is noted for developing. This innovation allowed rhythmic units to function independently, interlocking to create complex yet harmonious layers of sound. Another highlight on Side A is Visions: Realization 1 (After the abstracts of Alfred Chircop) , a solo vibraphone piece inspired by Maltese artist Alfred Chircop’s abstract artwork. Through the vibraphone, Camilleri evokes Chircop’s vivid, improvisational brushstrokes, providing a synesthetic experience that immerses the listener in both sound and vision. Side B continues this exploration with Visions: Realization 2 , another vibraphone solo that deepens the introspective tone of the album. Camilleri's music on Ritual Meditations utilizes what he calls the "atomization of the beat." Here, rhythm is broken down into small, self-contained units that together form a flowing, improvisational structure. This technique, which Camilleri initially employed in works like Sonatina Semplice  (1957), enables each melodic figure to exist independently while contributing to the piece's overall rhythmic complexity. This approach resonates particularly well with Camilleri’s desire for a universal music, as he expressed in his notes: “I desire to compose music that has no conflict, but which induces a spiritual involvement—both meditative and ritualistic.” Gatt collaborated with producer and engineer Joe Debono to bring this ambitious project to life. Debono’s expertise ensured the album’s sound quality highlighted every subtle shift in tone and rhythm, while Michele Graham’s evocative cover art visually represents the meditative quality of the music within. The blend of instruments, especially the glass and glockenspiel on Lullaby: Gentle Eyes, Gentle Sleep, Gentle Love , the album’s closing track, adds a serene and reflective texture. This particular piece deviates from the rhythm-heavy focus of earlier tracks, favouring a more melodic, lullaby-like sound that provides a peaceful closure to the album. Ritual Meditations  received considerable acclaim. Critics have praised the album for its innovation and Camilleri's ability to merge distinct cultural elements into a cohesive spiritual experience. Camilleri’s and Gatt’s shared vision for a musical genre that transcends conventional boundaries laid a foundation for later explorations in world music, a genre that has since become essential in the landscape of contemporary music. Their work on Ritual Meditations  is a testament to the power of cultural synthesis in artistic expression. Charles Camilleri’s contributions to music extended far beyond this LP. With over 100 compositions spanning orchestra, chamber, vocal, and solo instruments, his legacy as one of Malta's most prominent 20th-century composers remains secure. Camilleri’s influence on Maltese and international music was further honoured in 2014 when the Central Bank of Malta issued a silver €10 and gold €50 coin in his memory, celebrating his contributions to European culture. In Ritual Meditations , both Camilleri (with his compositions) and Gatt’s performance succeeded in crafting a record that resonates as both a work of art and a spiritual journey, inviting listeners to explore a unified experience of rhythm, melody, and global cultural influences. Bibliography Camilleri, Charles. Ritual Meditations . Performed by Charles Gatt. Produced by Joe Debono. Cover art by Michele Graham. Waterloo Music Co. Ltd., 1978. Vinyl, LP, Stereo. “Charles Camilleri Biography.” Central Bank of Malta, 2014. Camilleri, Charles. Notebook Excerpts . LP Sleeve Notes, 1978.

On Thursday, November 21st, drummer Patrick Camilleri and singer Ben Bailey, two-thirds of the blues trio Vinyl Paradise, shared insights into their journey, creative process, and upcoming debut album. The band, completed by bassist Antoine Tonna, is probably the island's only active blues outfit, formed from the remnants of their previous project, The Creepers. The upcoming self-titled album marks a new chapter for Vinyl Paradise. "These are all new songs," Camilleri confirmed, "apart from those from the  Live at Winehouse  EP." He explained that while the EP was recorded spontaneously to promote the band internationally, the album had been in the works for over a year. “We booked the recording with David at Temple Studios well in advance because he has quite a waiting list,” he noted. When it comes to their songwriting process, Vinyl Paradise thrives on collaboration. Bailey often brings initial ideas, but the final compositions emerge from collective effort. “It’s really the three of us who put all the work into each song,” Camilleri explained. The band has a no-nonsense approach to their music. "If a song doesn’t work right away, we drop it. We’ve discarded a lot of ideas,” Bailey added. Their method often begins with drummer Patrick suggesting a beat, followed by improvisational jamming to develop a structure. Bailey described his role in lyrics creation with a chuckle: “When they take a cigarette break, I stay back and write.” The decision to self-title the album was deliberate, reflecting the diverse styles within their blues repertoire. "Every song showcases a different corner of blues," Bailey explained. The band avoided creating tracks in the studio that couldn’t be replicated live, keeping the arrangements true to their trio format. “We didn’t want to write a song that would be forgotten because it can’t be played live,” Bailey added. When asked about their favourite blues styles, the band found it hard to pin down. Camilleri highlighted the excitement of artists like John Mayer and Gary Clark Jr., while Bailey expressed admiration for legends such as Freddie King, Buddy Guy, and Aretha Franklin. “The ferocity of Freddie King and Buddy Guy’s charisma are both inspiring,” Bailey said. Their music also channels the spirit of Motown, a testament to Bailey’s early influences like Tracy Chapman and Eric Clapton. As Vinyl Paradise prepares to launch their debut album, their sights are set on broader horizons. “We’re focused on promoting the album and reaching out to festivals and venues in the UK and beyond,” Camilleri revealed. With plans for a second album and more gigs in Malta, the band aims to build on their momentum and establish themselves as ambassadors of the blues. The debut album of Vinyl Paradise promises to be an authentic and dynamic showcase of their sound, signalling a bright future for blues fans on the island and beyond. Rock Moods featuring Vinyl Paradise (the full interview) can be heard here .

Manwel Cilia, born Emmanuele Cilia on May 24, 1889, in Ħaż-Żebbuġ, Malta, is celebrated as a prominent figure in Maltese folk music, specifically in the traditional genre known as għana. Known locally as "Ta' Żabetta," a nickname derived from his mother Elizabetta, Manwel lived at 29 St. Anthony Street. His voice, recognized for its melodious clarity and ease of comprehension, became an iconic representation of Maltese folk tradition during the early 20th century. His music is still revered today, not only for its beauty but also for its historical significance, offering a glimpse into Maltese culture and society during his lifetime. Beyond his music, Cilia worked professionally as a nurse, often collaborating with British military medical staff stationed at Fort St. Elmo in Valletta, Malta. His tall stature, thick white hair, and neatly maintained appearance left a memorable impression on those who knew him. Cilia married Anna Calleja, with whom he had one daughter, Maria Carmela, affectionately known as Marianne. Career and Influence in Maltese Folk Singing Cilia’s influence on Maltese folk music extended beyond his time. His voice, characterized by both sweetness and clarity, resonated with listeners across the Maltese Islands, establishing him as one of the most respected folk singers of his generation. His influence later inspired notable singers, including Frans Baldacchino "il-Budaj," and Mikiel Abela "Il-Bambinu," both of whom sought to emulate Cilia’s distinctive melodic style. Traditional Maltese folk singing, or għana, has deep roots in the culture, dating back at least to the late 18th century. Renowned ethnographer Ġuze Cassar Pullicino documented the first record of għana in 1792, during the waning years of the Knights’ rule in Malta. Without modern entertainment or radio, traditional singing was a mainstay of social gatherings, allowing performers to express emotions, celebrate life events, or lament personal losses. It became a unifying force within communities, with each village incorporating its own distinct dialect and idiomatic style into its music. Cilia’s repertoire included popular songs such as Il-Mara u Ix-Xitan , L-Istorja ta' Arturo u Marija  , X'aħna Sbieħ Min Jaf Jarana , and Xalata għal San Pawl . Many of these were recorded in the early 1930s, preserving a unique soundscape of Maltese folk music. The Preservation of Cilia’s Legacy In 2018, 50 years after Cilia’s passing, his legacy was formally honored with the release of The Complete Studio Recordings (1931-32)  by Filfla Records. This compilation, featuring a selection of songs recorded at the HMV studios in Milan, was part of a collaborative effort with the Friends of the National Archives of Malta, aiming to preserve and promote the historical and cultural significance of Cilia’s music. Produced and curated by Andrew Alamango, the album featured a painstaking restoration of Cilia’s original recordings, transferring them from vinyl to digital format to ensure their accessibility to future generations. This reissue of 38 tracks includes popular pieces like X'aħna Sbieħ Min Jaf Jarana  and Xalata għal San Pawl , which were originally broadcast on Malta’s Rediffusion service and were fondly remembered by those who grew up listening to them. In a time when traditional Maltese music was overshadowed by international genres, this release reignited appreciation for the distinct cultural value of għana. The album was issued in multiple formats, including a 12” vinyl LP, a double CD, and downloadable digital tracks. A Lasting Impact on Maltese Culture Cilia’s contribution to Maltese culture remains invaluable. His music continues to inspire efforts within Maltese society to preserve the unique art form of għana. Civil organizations and cultural institutions frequently host gatherings and events dedicated to traditional folk singing, honouring the contributions of artists like Manwel Cilia. In the face of evolving musical tastes, the enthusiasm for Cilia’s work underscores the enduring legacy of Maltese folk music. Cilia’s work has been enshrined not only in recordings but also in the collective memory of Maltese people, ensuring that this unique tradition will be passed down to future generations. Bibliography Filfla Records. (2018). Emmanuele Cilia: The Complete Studio Recordings (1931-32) . Malta: Filfla Records. San Filep Band Club. (2018). Commemorating L-Għannej Manwel Cilia . Żebbuġ, Malta. University of Malta. (2018). The Role of Għana in Maltese Folklore . Malta: University of Malta Press. Maltashellac78rpm. (2018). "Emmanuele Cilia - The Complete Studio Recordings." Retrieved from https://maltashellac78rpm.wordpress.com/ GuideMeMalta. (2018). "Launch of Emmanuele Cilia’s Complete Recordings at D’Amato Records." Retrieved from https://www.guidememalta.com/

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