Search Results

Malta's iconic music show Rockna celebrates 15 Years of championing the local music scene Rockna, Malta's premier hybrid music and talk show dedicated to promoting the local music scene, marks a significant milestone this week as it celebrates its 15th anniversary. The groundbreaking show, which first aired on 9th July 2010, has become an institution in Malta's musical landscape, providing a vital platform for local artists and music enthusiasts. To commemorate this remarkable achievement, host Michael Bugeja has prepared a special anniversary episode that revisits the very first Rockna broadcast from July 2010, including an interview with the first guest band Eve Ransom. This special episode will offer listeners a nostalgic journey back to the show's origins - the spirit of which remains intact, helping the show evolve and grow over the past decade and a half. "Fifteen years ago, encouraged by the station manager at the time, Charles Saliba, we set out to create something dedicated to comprehensively promoting Malta's music scene," Michael Bugeja said in a comment. "Looking back at that first show and seeing how far we've come – and how much the local music scene has grown – is incredibly rewarding. What started off as a radio show, has become more of a community." A Platform for Malta’s musical talent Since its inception, Rockna has distinguished itself through its comprehensive format, seamlessly blending in-depth interviews with carefully curated music selections that showcase the depth and diversity of Malta's musical talent. The show has evolved alongside Malta's broadcasting landscape, transitioning from its original home on Radio 101 Digital to its current platform on NET FM, while expanding its reach through internet streaming and DAB+ digital radio. Over the years, Rockna has become synonymous with musical exclusivity, hosting a number of album and single launches as well as intimate live unplugged sessions that have given listeners unprecedented access to their favorite local artists. Some of these special moments have been preserved for posterity in a compilation album featuring selected live sessions from the show's archives. The compilation, Rockna Live & Unplugged, is available as a free download. The show's impact extends beyond the airwaves, having staged memorable live concerts for its 5th and 6th anniversaries, both of which were broadcast live on radio, bringing the Rockna experience directly to audiences across Malta and Gozo. Anniversary Concert coming up Building on this tradition of live music celebration, Rockna will stage an anniversary concert later this year featuring three carefully selected acts, with more details to be announced in the coming weeks. The event will also include an open mic and jamming session in collaboration with the respected music collective Music Playground, ensuring that both established and emerging artists have the opportunity to participate in this milestone celebration. "This anniversary concert represents everything Rockna stands for – celebrating established talent while nurturing new voices in Malta's music scene," Michael Bugeja added. "The collaboration with Music Playground is particularly exciting as it embodies the community spirit that has always been at the heart of what we do." A Lasting Legacy Throughout its 15-year journey, Rockna has maintained its commitment to supporting Malta's music scene through both challenging and triumphant times. The show has provided a consistent platform for local artists to share their stories, launch new material, and connect with audiences in an intimate, authentic setting. As Malta's music scene continues to evolve and gain international recognition, Rockna remains a cornerstone of the local musical community, bridging the gap between artists and audiences while documenting the rich tapestry of Maltese musical expression. The special 15th anniversary episode of Rockna airs this Monday, 7th July 2025, on NET FM and is available via internet streaming and DAB+ digital radio. Details about the anniversary concert will be announced during upcoming shows and through the programme's social media channels. About Rockna:  Rockna is Malta's longest-running music and talk show dedicated exclusively to the local music scene. Broadcasting weekly, the show features interviews with local artists, exclusive live sessions, and music selections that highlight the diversity of Malta's musical landscape. The show airs on NET FM and is also available through internet streaming at netfm.com.mt  and DAB+ digital radio. Show Information:  Rockna - NET FM [Mondays at 7pm CET] Also available: Internet streaming at netfm.com.mt  and netondemand.mt  and DAB+ digital radio Media Contact:  Michael Bugeja ( bugeja.michael@gmail.com )

Different Strings, prog rock/metal project led by Chris Mallia recently announced the release of the new track entitled "Apathy symphony". The almost 7 minute piece will be part of the forthcoming 5th studio album. This is the second track from this album after the release of "Words unspoken" last year. "Apathy symphony" is quite a heavy track, compared to other DS music, influenced by fast, solid riffs in the Judas Priest style but still amalgamating melodic phrases with the traditional use of Hammond, Moog and mellotron among other synths. The song's theme revolves around a modern society focusing on individuals whom are unable to fit in due to considerable changes around us which doesn't necessarily fit to one's ideology. Once again, another vocalist was recruited for the recording and this time was Alex Granato from the Italian Dream Theater cover band, Enigmatic Chaos. The 5th album is still in the recording process and hopefully will be released early 2026. Apathy symphony and other DS music can be downloaded or purchased from the official band camp site here... https://differentstrings.bandcamp.com/ Also available on all streaming platforms with a lyric video available on Youtube

The final days of June proved to be eventful for atmospheric doom metal band Pilgrimage , with a series of exciting announcements surrounding their highly anticipated sophomore release, From Amber to Sun . The band shared updates on their new label partnership, album artwork and details, guest musician collaborations, and an upcoming festival performance. A New Chapter with Meuse Music Records On June 23, Pilgrimage announced their official collaboration with renowned doom metal label Meuse Music Records . The label, known for its dedication to high-quality physical releases and strong community roots in the underground metal scene, will release the band's next album. “We are pleased to announce our collaboration with Meuse Music Records!” the band stated in a public announcement. “The team behind Meuse Music Records has been deeply involved in the metal scene for decades... Pilgrimage is honored to be part of this ever-growing and passionate family.” Album Announcement: From Amber to Sun Just three days later, on June 26, the band unveiled the title, artwork, and release details of their new full-length record, From Amber to Sun . The album will be released on August 29, 2025 , in a 6-panel CD Digipack format , accompanied by an 8-page booklet. The album comprises eight tracks  and runs 47 minutes  in total, continuing the band's sonic journey from their debut Sigil of the Pilgrim Sun , but promising an even wider emotional and musical range. “It is a natural evolution from our debut... listeners can expect a broader spectrum of music and overall mood,” the band shared. The album's cover artwork was created by Johnny Doe Art . Notable Collaborations Elevate the New Release On June 28, Pilgrimage revealed special guest appearances on From Amber to Sun , highlighting two acclaimed artists in the doom and dark ambient music realms. The album features Elianne Anemaat  ( Celestial Season ) on cello, and Heike Langhans  (formerly of Draconian , ISON ) contributing vocals on three tracks. “Elianne played cello on two songs, creating a seamless undertone of sorrow from start to finish,” said the band. “Heike lent her voice to three songs. Her iconic melancholic timbre captured beautifully the band's vision for these songs. Our collaboration... was truly fantastic and characterized by their talent and humble professionalism!” Live Performance at Darken the Moon Festival Rounding off the month, Pilgrimage confirmed their return to the stage this September  at Darken the Moon Festival  in Belgium — a key event in the European doom and gothic metal calendar. “Looking forward to play this event again,” the band shared, expressing enthusiasm about reconnecting with the festival audience. With From Amber to Sun  set for release in late August and the first single announcement imminent, fans are encouraged to follow Pilgrimage and Meuse Music Records  for pre-order details and further updates.

When We Are Legion arrived on December 1st, 2017, via Mighty Music (Catalog ID: PMZ238CD), it marked a long-awaited milestone for Chaotic Remains—a band that had been simmering in Malta’s underground since 2008. Known for their aggressive blend of symphonic death and black metal, the group’s debut full-length release showcased both their musical ambition and the scars of a turbulent past. 'We Are Legion' artwork The lineup on We Are Legion brought together a formidable cast of musicians: Sean Baldacchino, known by his moniker ‘Storm,’ on vocals, Andrew Grech on bass, Mark Andrew on drums, Julian Bacon and Roderick Sciberras on guitars, and William Debattista on keyboards. The album’s polished sound was brought to life through the mixing and mastering work at SpineSplitter Studio. Despite being their first official release, We Are Legion was anything but the product of a fledgling band. As longtime follower and reviewer Robert Zuriaake noted in his 2021 retrospective, “We Are Legion is an agglomeration of ideas accumulated throughout several years and months… not their first experience creating music.” He praised the record for being “very entertaining and captivating,” with particular emphasis on its standout tracks like “Fate in the Abyss” and “In Need of an Angel.” The album was officially released during a launch party at Kickstart on Sunday 4th December 2017 Zuriaake’s review shines a light on the band’s internal growth, especially their ability to finally stabilize their lineup after years of instability. He commended the guitar work and the “perfectly crafted symphonic passages,” as well as Debattista’s tasteful keyboard presence. “One fact which I completely respect Chaotic Remains for is that they are extremely competent at what they do,” he wrote. “The drummer is a fucking beast… and the vocalist is a complete beast on this release.” Still, Zuriaake pointed out imperfections in the album’s production, particularly the underwhelming presence of the bass guitar in the mix. “It is mixed too low and most of the time gets overshadowed by the growls and the guitars,” he observed, while still praising the consistency and cohesion of the band’s performance. Storm during the album recording sessions 2017 Dead Rhetoric’s David E. Gehlke, writing shortly before the album’s release, provided a contrasting yet equally thoughtful critique. He identified Chaotic Remains as part of a newer generation stepping into a genre that has, in many ways, lost its prominence. “The lack of any new, fresh, high-ranking symphonic black metal bands leaves a void for younger acts, like Malta’s Chaotic Remains,” he wrote, calling the band’s sound “keyboard-happy BM.” Gehlke found William Debattista’s keyboard work to be the central pillar of the band’s sound. “He gets top billing in the mix,” he noted, adding that the band’s orchestration leaned into the “keyboard-versus-guitar push and pull that came to prominence roughly 20 years ago.” Though he described the album’s mix as “chaotic,” he still acknowledged its potency: “You’re going to get a lot out of what Chaotic Remains have to offer… it’s a whirling, wild ride from a group of dudes who sound larger than life.” 'We Are Legion' was recorded mixed and masterered by David Depasquale at SpineSplitter Studio At just seven tracks, We Are Legion doesn’t overstay its welcome. It serves instead as a bold, if imperfect, introduction to a band with grand sonic ambitions and deep genre roots. Though the group currently seeks a new bassist and has been absent from the live circuit, fans can hold out hope for new material. After nearly a decade of formation, lineup changes, and refinement, We Are Legion stands as a testament to Chaotic Remains’ endurance and dedication to their craft. As Zuriaake aptly concluded: “These guys do not reinvent the wheel, however, their interpretation and execution of such ideas is something to behold.” Listen to the album here Chaotic Remains 2016

Atmospheric and progressive metal project Erased by Time , founded by multi-instrumentalist Andrea Sacco-Baldacchino , is set to release its debut single "Breathing Shadows"  on July 11th, 2025  across all major streaming platforms. "Breathing Shadows" delivers a deeply emotional and cinematic sonic experience, blending haunting textures, progressive structures, and raw human emotion. The track explores themes of isolation, internal struggle, and the hidden truths we carry within, a powerful anthem for those who have ever felt voiceless in the shadows. “‘Breathing Shadows’ is a reflection on the parts of ourselves we often silence,”  says Andrea. “It’s about confronting the emotional debris we leave behind and rediscovering what makes us human.” The track features Andrea on guitars, synths and overall arrangement, with production handled by Anthony Micallef . Additional guest contributions include the intense and evocative vocals of Kyle Farrugia , and a stirring spoken-word performance by Mark Doneo , whose narration brings an added layer of depth to the song’s introspective tone. "Breathing Shadows" will be available worldwide on Spotify, Apple Music, YouTube, and all major streaming services starting July 11th, 2025. Facebook: www.facebook.com/erasedbytime1 Instagram: https://www.instagram.com/erased.by.time/

Staying Motivated in the Music Industry If you’ve spent any time chasing a career, or even a serious hobby, in music, you know the feeling. One day, you’re flying high after nailing a gig or writing something special. Next, you’re wondering if anyone out there is really listening. Motivation isn’t a constant. It ebbs and flows. And in this industry, you have to learn how to nurture it , sometimes daily. Why Motivation Wavers Let’s be honest, the music world isn’t just about talent. It’s about persistence. You’ll face creative slumps, missed opportunities, financial uncertainty, and the creeping self-doubt that social media tends to amplify. Everyone looks like they’re winning while you’re stuck in place, but trust me, every musician (yes, even the ones with sold-out shows and six-figure streams) has been there. I know I have. What keeps me going? It always comes back to the music itself. When I lose sight of why I started, I strip it all back to the basics: the groove, the melody, the thrill of discovering something new on the bass. Sometimes, just picking up the instrument with no agenda brings everything back into focus. 5 Practical Ways to Stay Motivated (Especially When It Gets Tough) Set small, achievable goals. Learn a new lick. Improve your timing. Record a 30-second idea. Progress, even tiny bits, fuels momentum. Connect with other musicians. A quick jam, feedback exchange, or even a message can reignite your energy. Music was never meant to be made in isolation. Celebrate the small wins. Don’t wait for the “big break.” A kind word after a gig or finally nailing that tricky phrase. That counts. Take breaks without guilt. Burnout is real. Sometimes the best move is to step away, reset, and return with fresh ears and a clearer purpose. Revisit your "why." Go back to the music and artists that lit the fire in the first place. Let that passion remind you of your own. My Own Journey There have been moments, especially early on, when I seriously questioned whether it was all worth it. But every album I’ve released, including the latest one, Visions of Transcendence , was shaped in part by those doubts. Staying the course, even when the path wasn’t clear, made all the difference. Because music is also who I am. That’s what keeps me coming back to the bass and music, day after day. Let the Music Lead If you’re struggling to stay motivated right now, know that you’re not alone. The road isn’t always straight, but every step, even the hard ones, becomes part of your story. Whether you’re gigging every weekend or quietly practising in your room, you are building something real. And when you need a spark, revisit your favourite records. Keep playing. Keep moving. Keep listening. Merch Cd’s and Vinyl My Website Stream my Music

The Mammoths Have Returned – Celebrating Five Monumental Years of Heavy Riffs in Malta Until today, humankind believed that the ancient relatives of elephants were long extinct—only the fossilized remains of dwarf elephants at Għar Dalam stood as proof that such beasts once roamed our island... until today. REEFERFEST returns for its 5th anniversary with a roar that will echo across the underground music scene in Malta and beyond. Building on the massive success of last year’s edition—featuring international heavyweights WITCH PISS  (Belgium), DITCH  (Netherlands), and headliners BELZEBONG  (Poland)—this year’s lineup takes things to an even more monstrous level. In the words of the festival organizers, Hemplifier , “This year we raise the bar again. Two mastodontic beasts— ACID MAMMOTH  and UFOMAMMUT —are lumbering to Malta for what will be a once-in-a-lifetime ritual of heaviness.” REEFERFEST 2025 LINE-UP: Hemplifier  (Malta) Rankin  (Malta) Acid Mammoth  (Greece) UFOMAMMUT  (Italy) In addition to the live music, the event will feature DJ sets from Noel Mifsud , an art exhibition by Maria Baldacchino , and merchandise & stalls from Sigritwal , Kewn Records , and the performing bands. Event Details: Date:  [Event Date] Venue:  The Garage, Ħaż Żebbuġ, Malta Doors Open:  19:30 First Band On Stage:  20:00 sharp Tickets:  €25 How to Get Tickets: Contact Hemplifier , Emanuel Portelli , or pay via Revolut at 99802413 . IMPORTANT:  Include the ticket holder’s full name and ID card number in the payment description. NOTE:  Tickets are non-refundable and non-transferable. Merch and tickets at the door can be paid via Revolut. Bar accepts cash only . With doom giants ACID MAMMOTH  and the cosmic sludge masters UFOMAMMUT  leading the charge, REEFERFEST 2025 promises to be an earth-shaking celebration. “Be sure to be at The Garage this year,” organizers urge. “Join the stampede these mammoths will initiate... let’s lumber together towards the celestial portal!” GET YOUR TICKETS NOW – AVOID DISAPPOINTMENT! Stay Hemplified.

One of the things I love about Dark Malta Festival is the artwork they create for every edition.  It was hard to beat the corsair ship that sailed us through the 2025 edition, but somehow, the organiser pulled through.  This time we have a collage of Maltese history, folklore and architectural monuments, merged together by the amazing Kuluri, who are once again responsible for creating the artwork.  Let us unravel some of the mysteries. In a nutshell, what we have here is the grim reaper, seated upon his throne, waiting patiently for the 2026 edition to start.  But the devil is in the detail.    The Maltese connection: Chapel of Bones, Valletta. As explained in the press release revealing the 2026 artwork, the reaper and skulls, in the background, are in reminiscence of The Chapel of Bones, a unique attraction in Malta, that was sadly destroyed in 1941, due to an aerial bombardment during the Second World War.  What was to become known as the Chapel of Bones was the crypt of the Nibbia Church.  This church, dedicated to Our Lady of Mercy, was built in 1619 by Fra Giorgio Nibbia, hence the name.  It was located near the Sacra Infermeria, the Order’s hospital, and its adjoining cemetery.  The church was rebuilt in 1731 and in 1852 the crypt was decorated with skeletal human remains taken from the mentioned cemetery.  As already mentioned, the church was heavily damaged by aerial bombardment in 1941, and the ruins were demolished.  Rumour has it that the crypt might still survive intact. The back of the throne is formed by part of the main gate of Malta’s iconic Addolorata Cemetery.  After the British authorities decided that no burials could take place in churches, early during the 19th century, an area known as Tal-Ħorr, in the vicinity of Paola and Marsa, was identified to serve as a cemetery for the people of Valletta and the towns around the harbour.  Interestingly this area has served as a burial ground since prehistoric times. Maltese architect Emanuele Luigi Galizia was commissioned to draw up the plans and the cemetery was built on neo-gothic style, between 1862 and 1868.  The cemetery was enlarged several times during the years and is still the largest one in Malta.  The beautiful chapel, dedicated to Our Lady of Sorrows, built at the highest part of the cemetery, adorned the first poster of Dark Malta Festival, back in 2018.          The city of Valletta, the capital of Malta, was founded by the Knights of St. John in 1566.  Donations of money and other aid poured in from all over Europe as a result of the brave feat carried out during the Great Siege of 1565.  We are not going into the history of this baroque city, as it is not the scope of this article.  One of the majestic buildings adorning the city is the former Grand Master’s Palace, today serving as the President’s office in Valletta.  This palace houses a unique armoury and a set of Gobelin Tapestries dating back to the Knight’s period, amongst other treasures.  What is of interest to us is the closed balcony, the first one on the island, or rather a corbel that stands at the corner under the northern balcony.  This apotropaic sculpture’s main scope was to ward off the evil eye.  Walking through Valletta, and other old towns in Malta, one comes across other examples, but none so complex. Still related to warding off the evil eye, yet of much more ancient origins, is the Eye of Horus, to be found at the top of the throne.  The eye is a feature on the Maltese fishing boat known as luzzu or kajjikk.  This tradition is thought to have originated with the Phoenicians, who were renowned merchants and sailors.  The Phoenician period in Malta spans between the 8th century BCE and 218 BCE, when they lost the islands to the Romans.  Apart from protection spells, these people introduced writing to the Maltese islands.  The Eye of Horus is still used today on fishing boats to ward off bad luck and the evil eye. Other details of the throne are two horned skulls, a bat and the pentacle.  Apart from the poster, this magnificent artwork for 2026 will be on the official Dark Malta Festival merchandise.  Stay tuned for more updates on the facebook event page or the official website darkmaltafestival.com , from were tickets for 2026 can be purchased.  Take a hint from the Dark Malta Festival imagery to visit places are read about the history of the Maltese islands and our rick folklore ……… and don’t forget to get those tickets.

Supporting Artists Through and Throughout Their Creative Journey SoundArt Festival Presents: A 3-Part Webinar Series – “Recording to Retail” and Beyond!   SoundArt Festival is proud to unveil a brand-new initiative aimed at empowering independent artists at every stage of their musical path. We’re thrilled to present a series of three exclusive webinars , thoughtfully crafted to guide musicians from recording their first track to preparing for the professional stage. This webinar series, titled "Recording to Retail," "Show Me the Money,"  and "Road Ready,"  will be led by seasoned music and event industry professional DeShaun Jones , joining us virtually from Canada. DeShaun brings years of real-world experience and a global perspective on navigating the music business—from studio sessions to retail strategy, funding opportunities, and touring preparation. 📅 Webinar Dates & Times Recording to Retail 12 July, 2025 | 16:00–16:45 CET Show Me the Money 2 August, 2025 | 16:00–16:45 CET Road Ready 13 September, 2025 | 17:00–17:45 CET All webinars will take place in the late afternoon – full details provided upon registration. 💶 Special Discounted Webinar Rates ·      €10 for one session ·      €20 for two sessions ·      €25 for all three sessions 💳 Payments can be made via Revolut or BOV  using the contact number provided in the registration form. 📍 Webinar links will be sent directly to registered participants.   REGISTER HERE This initiative reaffirms SoundArt Festival’s unwavering mission: to support artists through and throughout —not only during the spotlight moments but every step leading there. Whether you're refining your first release or prepping for your first gig, this is your opportunity to grow, learn, and connect . Let’s grow together as artists.  🎨🎵✨Follow us on socials for reminders, updates, and behind-the-scenes peeks.Posters attached for full schedule and session breakdown. Organized by: Tailor Made Management Group  & BandPush – Demo Tapes & Dreams In partnership with SoundArt Festival   MEDIA CONTACT Facebook: facebook.com/soundartfestivalmalta Instagram : instagram.com/soundart_festival_malta Email : soundartmalta@gmail.com info@soundartfestivalmalta.com

Devil’s Breath Releases Fifth Album: Abandoned By Humans – Adopted By Wolves  via Zazen Sounds One Track. 57:57 Minutes. A Ritual Journey into Disillusionment and Isolation. Zazen Sounds and Devil’s Breath proudly announce the release of the fifth full-length album from the enigmatic sound project: Abandoned By Humans – Adopted By Wolves , available now in digital format. Released on June 16, 2025 , and marking a decade since their debut, this is Devil’s Breath’s longest and most immersive work to date —a single, continuous track with a runtime of 57 minutes and 57 seconds , plunging the listener into an intense, ritualistic experience. This is the second collaboration  between Devil’s Breath and Zazen Sounds , a publishing house and artistic Womb founded by V.P. Adept , devoted to Dark Experimental Art, Ritualistic Expressions, Dark Ambient, and Noise Vibrations . Driven by a profound disillusionment with humanity , the album explores the emotional and spiritual fallout  of witnessing mankind's cruelty—to itself, to nature, and to the Earth. As a counterpoint, the wolf  becomes a totem—symbolizing instinct, solitude, loyalty, and the primal connection to wilderness that modern humanity has severed. Abandoned By Humans – Adopted By Wolves  is both uplifting and unsettling , a piece that balances atmospheric ritualism with abrasive ambient noise , forming a genre the artist describes as Ritual Noise Ambient . Listeners are invited to abandon the anthropocentric world  and traverse into a soundscape where the wild takes over—and where the soul finds refuge among wolves. 🎧 Listen / Buy Abandoned By Humans – Adopted By Wolves 🌐 Follow Zazen Sounds For anyone wishing to dig deeper into the genre, Abandoned By Humans - Adopted By Wolves, has been compared to the acts Aeoga, and Funerary Call. “The wolves do not need language to understand the world. Neither does this album.”

Klinsmann Releases Uplifting New Single “Unknown” – A Standout Track from Upcoming Album Chaos & Cadence Maltese pop-rock artist Klinsmann  is back with a brand-new single, “Unknown” , the fourth track from his highly anticipated upcoming double album Chaos & Cadence , set to release later this year. The song drops Friday, June 6, 2025  on all major streaming platforms. Produced by Howard Debono  at Jagged House Studios  and penned by Klinsmann Coleiro at Monkey Wrench Studios , “Unknown” showcases a polished, radio-ready pop sound that blends heartfelt lyrics with soaring melodies and modern production. “The truth is… no one really knows what they’re doing. And that’s okay,”  says Klinsmann. “Unknown” is about two people realizing that what they’ve been searching for might already be right in front of them—if they’re brave enough to stop running and just take the leap.” With its emotionally resonant message and anthemic chorus, Unknown  is a poignant reflection on vulnerability, connection, and embracing uncertainty. It’s a track that speaks to anyone standing at the edge of a decision, unsure of the next step but ready to move forward with hope. “Unknown”  is a powerful reminder that while the future may be uncertain, we are never truly alone—and sometimes, the most meaningful moments are found in the uncharted places of our lives. Follow Klinsmann: Website:   www.klinsmannofficial.com Facebook:   facebook.com/klinsmannofficial Instagram:   @klinsmannofficial YouTube:   youtube.com/klinsmannofficial Media Contact: press@klinsmannofficial.com

Kayati's "I Hate It" explores the raw emotions of a past relationship and its lingering impact even after you've moved on. ‘I hate it’ is out June 6th on all streaming platforms released under LA-based label SoCal Records. The song "I Hate It" dives into the raw emotions of a past relationship and the lingering impact it has even after you've moved on. At its core, the song reflects on the process of coming to terms with a breakup and the realisation of the many things that were wrong with the relationship. In the aftermath of a breakup, it’s common to reflect on the relationship with a new perspective. "I Hate It" captures this moment of clarity where, after the initial pain fades, you start to recognise and articulate all the things you didn’t like about the other person. The song conveys a sense of regret for not seeing these issues earlier and acknowledges that the relationship was a mistake from the start. Despite having moved on, the song highlights one persistent reminder of the past, the smell of cigarettes. This smell acts as a powerful trigger, evoking memories and feelings associated with that relationship. It symbolises how certain aspects of the past can linger and resurface unexpectedly, despite your best efforts to leave it behind. "I Hate It" allows you to express the frustrations and regrets you have about the relationship, while also acknowledging the subtle ways in which the past continues to affect you. It’s a reflection on how even after you’ve moved on, the remnants of a past love can still catch you off guard, like the pervasive smell of cigarettes. Kayati explain: ‘We wrote “I Hate It” back in 2021, just the two of us in our room with a guitar. At first, we weren’t completely sure about it,but as soon as we started writing lyrics to the melody, something clicked.The single was then brought to life by Peter Borg of Railway Studios’. A year later, we sent a few demos,including “I Hate It” to SoCal Records. The label immediately connected with the track and wanted to release it.' 'I hate it' was written by Kayati and recorded and produced by Peter Borg at Railway Studios Released under LA-based label SoCal Records . Listen on Spotify

Requiem for the Living - this summer distinctive event! During this year marking the 25th anniversary of Schola Cantorum Jubilate, a series of special choral events is being held. These go beyond mere musical performances—they are a tribute to the choir’s pursuit of artistic excellence, designed to challenge and inspire its choristers while providing audiences with memorable and enriching experiences.   A highlight of the celebrations will be the Anniversary Concert on Saturday, 5th July at 8.30pm, featuring Requiem for the Living by Dan Forrest. This five-movement choral work includes texts from Ecclesiastes and the Book of Job. Described by the composer as a prayer for both the living and the departed, the piece was composed over 16 months between early 2012 and mid-2013. Forrest notes the difficulty and depth involved in setting ancient scriptures within a modern musical context. For SCJ, Requiem for the Living represents a 25-year journey—one that has not always been smooth sailing, but like a life cycle, it reflects a metamorphosis marked by challenges, growth and milestones. These have shaped not only the choristers’ personal development but also their social and cultural evolution.   For this concert Schola Cantorum Jubilate will be joined by its special guest: KorMalta, the National Choir and the Orchestra Sacro Monte from Varese, Italy. The entire ensemble will perform under the direction of Marouska Attard, the choir’s founding director. The setting for this performance is as remarkable as the music itself. It will take place at the Amphitheatre on Ta’ Għammar Hill, opposite the Ta’ Pinu Sanctuary—a hidden gem that promises to leave a lasting impression. From this vantage point, audiences will enjoy sweeping views of Gozo’s rolling hills, village domes and the vibrant Mediterranean Sea. One of the evening’s highlights will be the sunset; a daily spectacle that offers a tranquil prelude to the concert and a natural beauty no artwork can fully capture. The arena itself reinforces the concept of the life cycle or more precisely, the chronos, the passage of time that governs the past, present and future.   Admission is free. Optional transport will be available between Ta’ Pinu and the Amphitheatre and such booking is available on ShowsHappening. Patrons are kindly asked to dress in colourful summer attire to complement with the joyful spirit of the occasion and the scenic beauty of the setting. For more information, contact the organisers at info@scjchoir.com or 79450950.   This production is supported by the Malta Arts Council in collaboration with the Ministry for Gozo and Planning, the Directorate Cultural Heritage, Visit Malta and CVC.

SCJ hosts the Imperial Male Voice Choir from the UK This October, the Schola Cantorum Jubilate will be hosting the Imperial Male Voices Singers. This choir takes its name from the Imperial College, University of London, where the founder members met in the 1970s. Although Imperial is renowned world-wide for its tuition and research in the fields of Science, Technology and Medicine, its students and alumni also have a notable enthusiasm and reputation for music-making. Over almost 50 years IMVC has entertained audiences and been successful in competitions at home and on tours to France, Germany, Ireland, Switzerland, Slovenia and Russia. Their eclectic repertoire spans almost 1000 years from plainchant and sacred through folk-song, classical, opera, musical theatre and popular genres. Their musical director, Deborah Miles- Johnson, and accompanist, Brian Parsons, are alumni of the Royal College of Music and both have many years of professional experience in performing, directing and teaching music.   “We are very much looking forward to visiting Malta and Gozo between 14th and 20th October 2024. Our planned concerts will focus particularly, but not exclusively, on sacred music and arrangements of traditional/ folk song harmonised for male voices” said Deborah Miles-Johnson. In Gozo, SCJ will join the IMVC for a sacred music concert Opera Tua . Patrons can look forward to masterpieces by Palestrina, Victoria, Tallis, Schubert, Holst, Biebl, Vaughan Williams, and Chilcott. This concert will take place at the architectural gem of Għarsi Parish Church on Friday, October 18th, starting at 7:30pm. Each choir will perform some of their favourites and come together for powerful, uplifting choral pieces, conducted by Marouska Attard and Deborah Miles-Johnson. On the following day, Saturday, October 19th, the IMVC will present a Lunchtime Recital at the Gozo Seminary Hall in Victoria, beginning at 11:30am. This concert will primarily feature secular music, including folk songs by Vaughan Williams and Holst, as well as traditional American folk tunes. It will also showcase duets by Dvořák and Rossini, performed by Marouska Attard (soprano) and Deborah Miles-Johnson (mezzo-soprano), concluding with Lehár's Vilia . Concerts are free of charge and open to everyone. These events are part of the Opera is Gozo initiative, supported by the Directorate of Cultural Heritage within the Ministry for Gozo and Planning. Further details are available on the Websites:   www.imvc.org.uk   or   scjchoir.com and the social media platforms.

When the Maltese doom/death metal band Victims of Creation finally unleashed their long-gestating debut album Symmetry of Our Plagued Existence  on April 26, 2013, via Cyclone Empire (Catalog ID: CYC 112-2), it marked the end of a creative incubation that had lasted more than two decades. Formed in 1992, the band had long remained a name whispered only in underground circles, their existence almost mythic—until this crushing opus descended upon the metal world. Victims Of Creation 2013: promo photo by Bloodography A review from Metal Temple captured the mystique best: “An unknown force incubating for a couple of decades finally awakens. Thus, presenting itself before our species, it stumbles upon the changes that have arisen since its cumbersome sleep. Victims of Creation is such a band.” While it’s often claimed that the band never released material before 2013, die-hard fans will recall a rare earlier track, “Lotions and Potions,” featured on The Core of Creation  compilation released by Storm Records in 1996. However, this early effort featured a different lineup and sonic identity—making Symmetry of Our Plagued Existence  the true birth of the band as we now know it. The lineup on Symmetry of Our Plagued Existence  featured Daniel Bartolo and AJ Burd on guitars, Rex handling both bass and vocals, and Dino Mifsud Lepre on drums. This formation brought a powerful chemistry to the album’s brooding, doom-laden sound. However, not long after the album’s release, Daniel Bartolo parted ways with the band. He was replaced by Emanuel Portelli, a prolific figure in the Maltese metal scene known for his work with bands such as Akem Manah, Animamortua, Hemplifier, and Thy Legion. His arrival hinted at a possible evolution in the band’s sound and creative direction. Yet, as of 2025, a follow-up to Symmetry  has yet to emerge, leaving fans eagerly awaiting the next chapter in Victims of Creation’s slow-burning saga. Clocking in at nearly an hour, Symmetry of Our Plagued Existence  is a heavy, dirge-like voyage into the void—equal parts gothic melancholy and brutal death-laden aggression. The five tracks, many surpassing the ten-minute mark, function more like movements in a symphony than traditional metal songs. Each piece slowly unfolds, allowing dread and catharsis to build simultaneously. Reviewer Luca Zakk of Metalhead.IT described it succinctly: “Heavy and lethal. Slow and aggressive.” He continued, “These melodic atmospheres are almost gothic, which then all of a sudden become brutal, damned, and torn apart thanks to the ability of a vocalist who is capable of a good growl, but also clean singing characterized by a voice that I definitely find pleasant in its melancholic and sad essence.” Tracks like “Chapter XIII” serve as portals into a slow-moving hellscape—“a monumental exhibition of obscure concepts that are slow and hypnotic,” as Zakk noted. “Tree of Iniquity” stands out with haunting melodies and crawling riffage, while “The Art of Despair” plunges even deeper into doom-sludge territory, living up to its name with every tortured note. Arguably the album’s emotional peak comes with “The Glorious Deceit”, which opens with ethereal clean vocals—a clear nod to doom forebears like Candlemass—before diving headfirst into melodic, decadent death/doom, perfectly showcasing the band’s dynamic range. Live at Doom Shall Rise, Germany 2013 While Symmetry of Our Plagued Existence  doesn’t aim to reinvent the genre, it masterfully embodies its spirit. The music is deeply authentic, a product of years of persistence, artistic solitude, and unyielding dedication. “They are definitely not the innovation, but their sound is authentic, powerful, and extremely enjoyable,” Zakk wrote. “Their sound is undoubtedly extremely efficient, perfect for the live scene and definitely worth the deal with a label such as Cyclone Empire.” Given its atmospheric weight and layered construction, Symmetry  is not just a debut—it’s a manifesto. The band channels their patience and pain into every second of sound, creating a work that is immersive, bleak, and unrelenting. Victims Of Creation 2013: promo photo by Bloodography Despite the critical praise and underground support, the band’s sophomore release has yet to emerge. Updates trickled in as recently as November 2021, indicating that the second album was in development. But now, over a decade after Symmetry , no new material has surfaced. The world waited twenty-one years for Victims of Creation’s debut. It was worth the wait. One can only hope the next chapter arrives sooner—and hits just as hard. Until then, Symmetry of Our Plagued Existence  remains a solitary monument, a chilling echo from Malta's doom-laden shores that proves good things come to those who suffer—and wait. Listen to the album on Spotify

Concert to Support Beatification of Henry and Inez Casolani A chamber music concert will be held on Friday, June 20  at 7:30 p.m.  at the Salesian Theatre in Sliema , in aid of the beatification cause of Henry and Inez Casolani , the first Maltese lay married couple being considered for sainthood. Organised by the Casolani Association , the event will feature the DESTE Trio —Stephanie Quintano (piano), Stefan Calleja (violin), and Desirée Calleja (cello)—performing works by Brahms and Mendelssohn. “It is very rare for a married couple to go through the process together,” said Quintano, who also serves as the association’s president. The couple’s cause entered the Vatican’s Roman phase in March, following the completion of the local diocesan inquiry in 2024. Proceeds from the €15 ticket sales will go directly to support the beatification process. Tickets are available at showshappening.com . James Dratta Teases Debut Single: A Self-Made Synthwave Exploration On Wednesday, June 11 , Maltese musician James Dratta  announced that his debut single  will be released in the coming weeks, teasing the project on social media with excitement and a promise of more to come. “ Hello my friends! Awesome news.. my debut single will be available in the coming weeks ,” Dratta wrote in a post that quickly caught the attention of fans. “ In the meantime I'll be teasing regularly... but if you're interested to know more, continue to read further ”. The project, he revealed, was an ambitious experiment: an entire track self-produced, recorded, mixed, and mastered in under 10 days . “ This was an experimental project... while exploring the complex dynamics of modern relationships. But more on that for another time... first we do some more work, ” he added. Blending elements of synthwave, chill, and smooth music , Dratta hinted that this track is just the beginning of a series of similar releases. “ And if you like synthwave, and smooth music, make sure to follow me because there will be more similar projects. ” He also encouraged fans to keep an eye out for the Spotify presave links , which he plans to share soon: “ In the meantime keep an eye out as I'll be sharing the Spotify presave links in the coming days ”. Dratta’s announcement marks his official entry into the music scene with a bold, DIY approach and a style that leans into nostalgic electronic soundscapes. Chaotic Remains Seeks Bassist to Complete Brutal Lineup Symphonic Death/Black Metal band Chaotic Remains  announced on June 10  that they are officially looking for a dedicated bassist  to round out their lineup, as they gear up for recording sessions and live performances. “ Bassist Wanted ” the band posted on social media, calling on musicians who are passionate about the extreme metal genre to join their ranks. “ If you're into crushing riffs, blast beats, guttural vocals, and pushing musical boundaries, we want to hear from you. ” The group outlined key qualities they’re seeking in a potential bandmate: solid bass playing (whether pick or fingerstyle), passion for both classic and modern death metal, reliable gear and transport, and a serious commitment to rehearsals, songwriting, and gigs. Most importantly, the band emphasized a "no ego, no flakes"  policy — just “ brutality and professionalism. ” “We have original material and are working toward recording and live shows,” the post added, hinting at new developments on the horizon for the band. Interested bassists are encouraged to reach out with samples  and a brief introduction . As the band put it: “ Let’s make some noise. ”

What Chronobiology Can Teach Musicians About Timing, Creativity, and Peak Performance Ever felt out of sync during practice? Like your brain’s foggy, your fingers clumsy, or your creativity just… flat? You’re not alone—and you’re probably not broken. You might just be playing at the wrong time of day. This week, I’ve been exploring chronobiology —the science of our internal biological clocks—and how it affects us as musicians. Turns out, your body has a rhythm just like your music does. And ignoring it might be costing you time, progress, and even inspiration. Your Body Is Keeping Time Too Chronobiology studies how our natural rhythms—like the 24-hour circadian cycle —influence alertness, coordination, focus, and mood. Musicians rely on all of these. So the question isn’t just what you practise—it’s when . Several fascinating studies confirm what many of us have felt intuitively: 1. Musicians Tend Toward Eveningness Research shows that many musicians, especially composers, fall into the “evening chronotype” —our internal clocks are wired to be more active and focused later in the day. A 2021 study found evening types score higher in divergent thinking tasks (a key to creativity) and are more likely to engage in late-day practice or composing. So if you feel most “on” after 7 PM—there’s a reason. 2. Performance Quality Peaks in the Afternoon In a study of professional violinists, players performed best between 12:00 PM and 4:00 PM , showing better tone control and tempo stability. Morning sessions were more prone to clumsy articulation and inconsistent dynamics. That lines up with general findings in chronobiology: motor skills and cognitive sharpness peak in early-to-mid afternoon . 3. Aligning Practice with Your Chronotype Works Another study from McGill University found that musicians naturally time their practice based on chronotype—not just habit or schedule. And this self-selection improved consistency and performance . So yes—there is such a thing as practising at the “wrong” time… if it doesn’t match your internal rhythm. What Can You Do? Track your peak hours : When are you most alert, creative, or relaxed? Keep a mini log for a week. Schedule your hardest work accordingly : Save your toughest passages or most creative work for your “golden hours.” Respect your REM : Late-night gigs or screen time can suppress REM sleep—which is critical for consolidating motor skills and emotional nuance. It’s when your brain locks in what you’ve practised. Final Thought Musicians are trained to listen. To timing, pitch, harmony, and the world around us. Maybe it’s time we listen inward too. Your body is playing its own rhythm. Maybe it’s trying to tell you when it wants to play. If this resonated with you, leave a comment or share it with someone whose practice routine could use a biological boost. Till next time—stay in tune, Simon Merch My Website Stream my Music

When Mistura  emerged onto Malta’s music scene in 2012, it did so with a blend of blues and rock rooted in Maltese identity and language, led by Antonio Olivari and Malcolm Bonnici. Originally an acoustic-electric duo, Mistura evolved into a full band with Matthew Agius on bass and Mark Andrew Azzopardi on drums by 2015. Their transformation was not just musical but structural — becoming a loud, unapologetic, and deeply local rock act. This sonic evolution culminated in their 2016 live album U l-Kotra Għajtet f’Daqqa  (And the Crowd Screamed at Once), recorded at the second edition of the Kotra Festival at Razzett l-Aħmar, Mosta. In a blog post around the album’s release, Olivari wrote, “These last one and a half years we’ve gone through a lot as Mistura version 2.0… now that this version is coming to an end, it’s fitting that… it has an album too. And, of course, it’s a live album.” This album doesn’t just archive a concert; it captures a moment — volatile, humorous, honest, and raw. The album comes alive through Olivari’s candid reflections on each track, offering a glimpse behind the curtain of both process and performance. album cover art 01. Kollox l-Istess (Everything’s the Same) “This is now the song we practically always open our concerts with,” writes Olivari. The track begins with him experimenting with delay effects while the rest of the band layers in gradually — a kind of organic soundcheck that morphs into a performance. “This bit should last no more than a minute… but here it dragged out to nearly 3 minutes… I risked getting a guitar or drumstick thrown at me to shut it off.” At 2:40, the band kicks into the actual chord progression, and though Olivari was denied his signature Big Muff due to technical issues, he relied on the Mooer Triangle Buff: “It still lets me get that sweet feedback.” The song’s repetitive structure underscores its theme — the mundanity and loops of life — with what Olivari calls a “qżież,” or noisy, chaotic jam, reaching peaks at 5:25 and 6:24. 02. Sowxal Netwerk (Social Network) A track spearheaded by Bonnici, this one lets him take the lead on solos. “It’s Malcolm’s song and rightly so, he plays the solos here,” says Olivari. While it echoes Led Zeppelin’s Stairway to Heaven  in its concluding D chord progression — a resemblance the band noted during rehearsals — they don’t mimic it outright. “We didn’t actually do it here… but I expect those chords to come in at the end,” Olivari admits. 03. Kliem Sabiħ Awto-Ċensurat (Nice Self-Censored Words) “This one really came alive live,” Olivari says. With lyrics that imply more than they say, it’s about subtext, nuance, and censorship — both imposed and self-inflicted. The climactic solo at 3:22 is a therapeutic moment for him. “Probably a cliché, but true,” he admits — one of those rare moments where the stress of being in a band makes sense. During the soundcheck for the Prog The Islands’ event ‘LAST of the PYRAMID REMEDY’  Mistura played in on Friday 1st July 2016 at Remedy – photo courtesy of Elton Grech from the band Lucy’s Last. 04. Fil-Kju (In the Queue) Debuted during the Evenings on Campus  series, this track stuck because of its blend of witty lyrics and groove. Olivari takes a moment here to give rare praise to his bandmates: “I really appreciate the three guys I play with – both technically and for the way they bring soul to the music.” For a song about queuing — symbolic perhaps of stagnation or bureaucratic waiting — it has surprising warmth and swing. 05. Tivvutax (Don’t Vote) A tongue-in-cheek yet pointed political statement, Tivvutax  always gets a reaction. “The famous song that causes some poker faces among people who aren’t sure whether they agree with it or not,” says Olivari. Dismissive of criticism that the song is “anti-democratic,” he jabs: “If a song changes your opinion about whether or not you should vote, then you probably don’t deserve to vote anyway.” Performed here with distortion-heavy guitars and a reggae-infused bassline mid-track, the song becomes a defiant anthem. “Malcolm changes his voice to mimic us playing metal – something none of us can actually do, except maybe Mark, our gentleman drummer.” 06. L-Għanja tal-Għala Biebu (The Song of Why Biebu) This song underwent a transformation from its origins into a straight-up hard rock piece. Olivari, ever self-aware, says: “I spice it up with lots of notes and gimmicks to make it sound like I really know how to play.” It’s a nod to showmanship in a track that plays with absurdity and irony — characteristics central to Mistura’s tone. Last Of The Pyramid Remedy artwork 07. Issa Tard Wisq (Now It's Too Late) “This is my oldest song – over ten years old now,” Olivari reflects. Originally a softer, acoustic track with clarinet by Francesco Sultana, here it takes on a heavier electric rock form. “Still one of my personal favorites from all the embarrassing stuff I’ve written over the years,” he confesses. The song is elegiac and personal, wearing its age and sentiment proudly. 08. Ifraħ Għax Iblah (Rejoice Because You're a Fool) Written in response to crowd expectations and performance feedback, this was the band’s attempt at a proper “final song” for gigs. “This one will probably end up on our second album,” Olivari reveals. It’s the only new song on U l-Kotra Għajtet f’Daqqa , and it embraces irony, joy, and satire. At 3:40, they pause to incite the crowd to dance — which leads, predictably, to awkward stares. “Except for a couple of drunk people who either try (and fail) to dance, or… throw up the burger they bought… marinated in beer,” Olivari recounts. “But actually, come to think of it, that gig was on Good Friday…” Mistura on stage at Ghanafest 12th June 2016 U l-Kotra Għajtet f’Daqqa  is more than a live album — it’s an artifact from Mistura’s most dynamic period. It captures the band at their most unapologetic and raw, willing to lean into technical imperfections and stage banter to show who they are, not just how they sound. With songs rooted in the Maltese language and local concerns, the band continues to evolve their sound without abandoning their identity. As Olivari noted in one of his blog posts: “You can better appreciate what’s happening as the songs are being performed, and also get a sense of how we work.” That insight — and Mistura’s ability to reflect Malta’s pulse through fuzz pedals and satire — is what makes this album stand out. The crowd may have screamed all at once ( għajtet f’daqqa ), but Mistura had already spoken — loud and clear. Following U l-Kotra Għajtet f’Daqqa , Mistura released Reghbus  in 2018 and MMXX  in 2020. After a four-year hiatus, the band made their return in November 2024 with a new single titled “ Grazzi bil-Quddiem .” U l-Kotra Għajtet f’Daqqa be listened on Spotify and Bandcamp alongside other Mistura releases.

Lyndsay Pace on her journey to motherhood and new music! Lyndsay Pace is an established singer/songwriter from Malta who has taken part in a number of renowned festivals, popular TV shows and media related projects. Her uplifting energy and colourful spirit are reminiscent of influential artists while here unique vocal performances are stark and beautiful, embodying the catchy appeal of pop music.   Known for her top charting singles, Lyndsay’s now welcoming her new journey as a mother and is embracing this moment with the release of her new song entitled “Lullaby” including the official visualizer, a profoundly moving ballad that comes from the heart. The track is penned by Lyndsay herself and produced by Dan William Rooney from Ireland in collaboration with Safo Style. It’s a sentimental piece that resonates with the universal truth, reminding us of the enduring power of maternal love with the expression of gratitude and pure emotions.    With so much to offer, Lyndsay continuously represents herself in the best possible way with qualities that are summoned through power and courage. There is an ambition, one to contain the excitement and perform in the most suitable standard, bringing out a diverse music taste in the industry. She hopes that in due time, she can set her foot abroad to reach her dreams of becoming an established artist.   www.lyndsaypace.com

Many associate Dr. Stephen C. Spiteri with fortresses and military history, and rightly so because he is the mind behind tons of research and a multitude of publications, apart from having lectured on the subject for many years at the University of Malta. Others also know him for his pen drawings featured in exhibitions and, more frequently, on his Facebook page. But behind the academic and artist, there is also an unknown musician who loves to explore and tinker with synthesizers and electric guitars to create his own music.  The Sound of Tinkering is his latest endeavor.  This solo project is, as he describes it “ a journey of exploration and discovery made possible only with modern technology and the magic of Digital Audio Workstations (DAW) .”  Let us dig a bit deeper into the mind behind The Sound of Tinkering.   What is your first recollection of music?  What type of music were you exposed to when you were still very young?   My introduction to music came with my father, who loved classical music and opera, and played them at home all the time on his cabinet record player. But the real hold over my imagination came from my uncle, Norbert, my mother’s younger brother, who opened up a world of contemporary groups and singers whenever, on weekends or during the long summer holidays, I spent time at my grandmother’s house in Ħamrun. Norbert also gave me my first record player as a teenager.   How did your musical tastes change as you grew up?    I have always been drawn to rock music and this taste has not changed much as I grew older, although, nowadays, I appreciate and seek out most forms of music. The first LP record I ever bought with my own pocket money, much to chagrin of my opera-loving father, was 24 Carat Purple by Deep Purple, which I could only play when he was not at home. Eventually, I found my way to the Canadian group RUSH and this trio has remained my most favorite band ever since. Along the way I discovered many other bands such as Queen, U2, Simple Minds, Marillion, Flock of Seagulls, Dream Theatre, Nightwish, Amaranthe, Tazenda, etc., and recently, Damaged & Co. Which groups influenced you to pick up an instrument and which was the instrument of your choice?   The band which most heavily influenced my notion of song writing and musical creation has been, undoubtedly, RUSH. Their blend of guitar and synthesizer sound, coupled with deep meaningful lyrics – a unique combination of rock music and intellect – has never lost its hold over me.   Perhaps, it was for this reason that I was drawn early in my adolescence to the fascinating creative sounds and boundless potential of synthesizers and electric guitars, as well as the bass, and these remained the main instruments in my quest to create my own compositions. My first instrument was an acoustic twelve-string guitar, and this was followed by an electric guitar which I bought with the money earned from a summer job at a bottling factory.  It was a black Hohner HG-427TB, a telecaster copy, solid body electric guitar with two humbucker pickups, which sadly I no longer have. This was followed by my first synthesizer, a Korg X-911 monophonic guitar synth which allowed me, amongst other things, to play my guitar as a bass. I eventually also bought an unwieldy second-hand Jen keyboard / synthesizer which introduced me to sequencers. Rock, however, requires drums, and it was only after I discovered drum machines and later, midi-programming, that I was able to truly formulate complete tracks of my own.   In 2003, together with Pierre Galea (lead / rhythm guitars), Andre’ Magri (lead / rhythm guitars and John Spiteri Gingell (vocals / lyrics), you formed the recording group My Aku Aku.  How did this come about?   I don’t recall the exact moment when this actually came about, but by that time I had tried to join a garage band or two, none of which lasted very long, largely because I was more interested in recording than in playing live. I think the breakthrough moment came when I got to know Pierre Galea, an excellent guitarist, with whom I got along very well and formed a lasting friendship. We had first met, I believe, via the band ‘The Unexplained’, headed by the late Pawlu Borg, when they used to rehearse in one of the changing rooms at the Infetti football ground in Mrieħel, which was situated just a stone’s throw away from my parent’s house.  I also roped in my younger brother John as singer and as lyricist – ever since our youth (prior to the age of computer games and smart phones) we used to entertain ourselves at home by creating songs and recording them on a Philips double tape recorder, which allowed us to primitively overlay tracks and create the semblance of songs.  Around 2004, John introduced me to Andre’ Magri, another excellent guitarist and IT specialist, who in turn introduced me to midi programming and also contributed his own original compositions which were included in the last two albums. This was basically the line-up of My Aku Aku.  Above all, however, it was my discovery of the magic of digital audio workstations (DAW) which truly opened up the world of recording to me. The ability to record at home, and at one’s leisure, with precision and clarity, made all the difference, as did the access to countless virtual instruments and other recording and editing software.   What is the meaning behind the name of the group – My Aku Aku? Ozymadies cover (2003) The name My Aku Aku is taken from Thor Heyerdahls’ book Aku Aku, The Secret of Easter Island (London, 1960). Thor Heyerdahl was the famous archaeologist and explorer who sailed across the pacific on board a replica of an ancient balsa raft, the Kontiki, to test his hypothesis of a seaward migration towards the isolated Easter Island with its monumental statues. At the time when we were forming the group, I was very much into this type of literature. The Aku Aku is a sort of spirit, the inner soul of the ancient Easter Island people. The name had a particular significance to us as it resonated with our musical attempt to give form to our inner voices, the spirit, so to speak, that captured the ineffable and inexpressible nature of our humanity. The words of Thor Heyerdahl himself best explain this: ‘My thoughts were my aku aku … conscience, intuition, all that could be put together to convey the idea of an invisible spirit’.   My Aku Aku released three albums, Ozymandias (2003), Spiral Vortex (2004) and Stories for Boys (2006).  Tells us something about these three albums and how the sound of the band evolved through the years.    Spiral Vortex cover (2004) The albums developed mainly as concept albums, and all revolved around broad themes. Ozymandias revolved around the mysterious and impermanent nature of our existence; Spiral Vortex, formed around the theme of the geometric patterns that permeate the universe – the spiral being the metaphorical symbol of the cycle of life, the essence that connects all things; Stories for Boys, on the other hand, was more loosely bound, but dealt with an emerging youth, with tales of mystery and adventure, and the coming of age. This last album was, in my opinion, the best of the three efforts, both technically and recording-wise.      My Aku Aku was more of a recording project than a live band.  Was this a conscious decision?   Stories for Boys (2006) Yes, indeed. My interest has always been primarily in the creative process of music-making, the studio work, rather than the performative aspect. It still is to this day. I consider it as an extension of my drawing or painting, where the musical instruments become my pens and brushes; their sounds, my colours; and the digital audio workstation, the paper on which I bring everything together. The combinations are infinite and exciting, and discovering these is what truly drives me along. Although recording requires concentration and can be tiring and taxing on your nerves, especially when you must repeat takes until you finally get it spot on, it can also be cathartic in its own way.   After My Aku Aku disbanded did you pack up your instruments and call it a day or did your continue tinkering as a solo artist?   I think, looking back, we never consciously disbanded; it was just that life came our way, as we each had to face our own separate work and family commitments. There also was little effort exerted on our part to disseminate our music apart from the handing out of a few complimentary CDs.  There were a couple of favourable reviews in the local papers, mind you, and a website was set up by John to promote the music, but in effect these didn’t attract many listeners. At the time none of us had Facebook. So, it simply died a natural death. But deep down there was always the desire to create something together again at some later stage. For a while, I experimented alone with midi, creating a handful of new instrumental tracks which I have now remastered and reused. But for most of the intervening years I had little time and energy to think about it, caught up as I was in my studies and other obligations. It did not help, either, that computers and hard drives kept dying on me with the loss of most of the original music files (especially those linked to VST settings). It was a good thing that I had converted many of the tracks to audio format since this eventually allowed me to recuperate and remaster the material, though not without difficulty. The Sound of Tinkering in the making In 2020 you made a comeback with The Sound of Tinkering project, which is basically your solo and independent recording project.  What rekindled the flame for composing and recording new tracks?   I believe two things served to rekindle the desire to start tinkering again with music; the first was the Covid lockdown, which found me with more time on my hands and the need to do something creative in order to retain my sanity; secondly, and perhaps more importantly, was that I got to know Keith Muscat. After I returned from my studies at University in February 2019, I was posted in the same office as Keith, and we quickly developed a friendship, as we found we both had a deep mutual fascination with history and music. Keith, as the keyboardist and lyricist of a leading metal band named Damaged and Co., allowed me the unique privilege of listening to their tracks as these were being composed and developed, and this inevitably reawakened my dormant (hibernating) enthusiasm for music making. Still, it was not a straightforward task, as I had to slowly relearn the process and tricks of digital recording, and grow acquainted with the latest DAW software since these had changed from the simpler versions, I used to work with 15 years earlier. Moreover, the decision to restart where I left off, also meant that I had to invest in new equipment to allow me to create the basics of a recording studio environment – nothing fancy, but the tools necessary to get the job done.     How did the name of your project come along?   Good question.  Partly by accident. For a long while, I had been casting around for a suitable name, original but unpretentious - one that would capture or reflect my music and recording process, but I failed to come up with an appropriate title. Then, I fortuitously came across a painting by Jean Eugene Buland, titled The Tinkerer, depicting a tinker in his workshop, and this triggered off the whole idea of The Sound of Tinkering. For, at the end of it all, my music remains little more than the sound of my own tinkering with guitars, synths and software … an ephemeral imprint signalling a “we were here” moment in the ever-shifting sands of time.   What are your current inspirations when you sit down to compose your music?   These vary. Often, a track or song starts off with a simple tune or a sequence of chords on my acoustic guitar or keyboards, or a riff on my electric guitar, and eventually I develop these into a compositional structure, adding drums, bass and keyboards as I go along. Broadly, my style falls under the category of Alternative or Progressive rock, but I try not stick to any one style and let the music take me where it goes - at times electronic, at times acoustic and at times hard rock.  Not everything works out, obviously, but occasionally an idea starts to come together with the potential to develop into a song or instrumental track. Usually, the final product is unanticipated, the result of a pleasant accidental discovery and blending of the various textures, sounds and beats. Often, there also develops a theme, suggested by the nature of the melody or rhythm itself, like for example the track ‘Ebb and Flow’ which came to suggest the motion of receding and returning waves in a tide.   At the moment, and working alone as I do, the new tracks tend to be instrumental pieces, since my voice is not really suitable for singing. Still, I have composed a handful of songs, lyrics and all, which I would like to see materialize at some stage - hopefully, along the way, I will find a vocalist who is willing to collaborate with me.    Apart from new material, you have also remastered material from the three albums released by My Aku Aku.  How difficult was it to rework tracks that were recorded by technology that today is considered as nearly obsolete?   Yes, apart from creating new material, I took it upon myself to remaster many of the old tracks, some 29 in all, from the previous three My Aku Aku albums. I also heavily re-engineered many of these and converted them from songs into instrumental tracks, especially those from the first two albums. In many instances, the re-engineered tracks are now virtually new compositions, and I renamed them accordingly. This proved easier said than done, however, since having unfortunately lost many of the original files, I had to acquire and learn to use dedicated software that allowed me to dissect the old audio tracks and separate them into their various component layers. Where it was not possible, I had no option but to re-record the various elements again. This was very time-consuming and not always successful. So I reused what I could, but I am very glad I invested the effort, tedious as it was, as they now sound much richer and complete.     Where can people find your music to listen to?   The Sound of Tinkering, 39 tracks in all, can be found both on Youtube, in a playlist in my channel under my name (Stephen Spiteri), as well as on SoundCloud, under the Sound of Tinkering, as per the links below:   Youtube   SoundCloud   The Sound of Tinkering The Collection CD Cover artwork (2025) Apart from the online releases, recently you faced the mammoth task of gathering all your work in a three-cd collection entitled The Sound of Tinkering – The Collection.  Apart from being responsible for all the music, you took care also of the artwork.  How did this project come about?   The new CD ‘The Sound of Tinkering – The Collection’ was not really planned at all, to tell you the truth. Thus far, I had been happy simply uploading the tracks to my Youtube channel and on SoundCloud as stand alones. However, during an interview on the radio programme ROCKNA earlier this year, Michael Bugeja, the host, suggested that I should consider bringing all the material together in the form of a CD or a collection of CDs. The idea soon grew on me, and I have been working to this end during the last few months. I considered various options for the title and cover design. Initially, I sought to adapt Jean Eugene Buland’s painting but the whole graphic concept did not really convey the nature of the project. I eventually adapted an earlier artwork of mine which I had created as a cover for the track ‘Inbuilt Obsolescence’ and this proved to be more successful – thankfully, it seems to have resonated well with many of my Facebook audience. It was a process of trial and error, but eventually one gets there after bouncing ideas off friends. Here, my training and former work in graphics and book design came in handy as I could produce the necessary artwork for the CD sleeve jacket covers and labels, and internal foldout, on my own and in the way I wanted them.   Unfortunately, as you stated in an online post, this collection will not be for sale.  Do you consider making it available if there is enough interest?    Yes, it’s a limited edition that will be available mostly for promotional purposes and as a few complimentary copies, for the time being. If, however, there proves to be a demand, I will try and find a sponsorship to a have more produced. In this way they can also be handed out free of charge, as my sole interest, at this stage in my life, is simply sharing my music.  I have nothing to prove here, just a desire to share. It gives me great satisfaction when listeners from across the world listen to and resonate with my music and let me know that they enjoy it. Hopefully, the CD collection will serve as a calling card as I send it out to radio stations.   The Sound of Tinkering The Collection CD (2025) All tracks on the CD’s are available on SoundCloud and one can watch music videos through YouTube channel.  Are you planning any new tracks for future release?    Yes, hopefully, whenever inspiration strikes. I am trying to create some Ambiental and Atmospheric tracks revolving around the notion of abandoned wrecks and buildings. Nostalgia is a powerful emotion I love to interact with. I would also like to collaborate with other musicians, likewise inclined to the creative recording aspect, if the opportunity arises. Apart from enhancing our soundscape with your music, you are also an accomplished artist.  Word has it that there is a new exhibition in the pipeline.  Can you tell us more about it?   God willing, there is an exhibition planned for early next year. If all goes as planned, it will contain around 50 of my pen drawings of various sizes, under the title of ‘Arti – My Land, My drawings’.  At the moment, I’m working out the logistics … which drawings to choose, framing, exhibition catalogue, etc. Fingers crossed.   You’ll be amongst the first to know when everything is finalized.