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

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

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

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

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

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

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

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

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

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

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