In this in-depth conversation, Noel Mifsud  speaks with Malcolm Callus , the driving force behind Sceptocrypt, about the band’s remarkable evolution and long-awaited return to Malta. Now operating as a five-piece and embracing the concept of Extreme Music Research , Sceptocrypt are redefining their sound while remaining true to the spirit that first emerged from the underground in the 1990s. Callus reflects on new band chemistry, the experimental direction of the forthcoming full-length album, and the emotional weight of bringing Sceptocrypt back to the Maltese stage at the historic Grim Reaper Festival 2026—nearly 28 years after their last local appearance. Sceptocrypt is now a 5-piece with Pawel on vocals, Skyler on bass/programming, Mark on drums and Jacek on samples/synths. How has this new mix of musicians influenced your approach to writing and performing compared to previous versions of the band?   Hello Melodija readers, what's up? With Pawel and Skyler having joined a bit more than a year ago, and the others joining later, the current songs are still predominantly works I had written in 2015 when I first started re-writing for Sceptocrypt. The main difference is that whereas in Malta we used to meet 3 times weekly, allowing all of us more time to pitch in ideas and jam on riffs more on the spot, although this is still so with the current Sceptocrypt, as we rehearse only once weekly due to higher rehearsal rents and the distances between where we live, we tend to pre-produce and share files more, and jam less. But we are gradually reaching a point where each one of us understands where we musically heading faster, which makes new ideas work more seamlessly. Since Sceptocrypt began writing together in 2022 and later completed the lineup in 2025, in what ways has the band’s sound evolved—especially in terms of structure, experimentation, and chemistry between members?   I would say that the main difference is that whereas before we belonged to the 90s experimentation of underground extreme metal, we now call ourselves as Extreme Music Research. The word "metal" is missing for a reason, in that although we welcome our past, we do not want to be limited by it. I dislike confines, in whatever art form it is, and I hope the experience of listening to Sceptocrypt is received in this way, whether one listens to us live or on record.   With the full-length in progress and the January 2026 preview “This Odometer Syndrome” capturing some of that direction, can you elaborate on the themes and sonic ideas you’re exploring on this upcoming album?   Without spilling too much beans, and thus saving for a later chat when the album is released, let's just say for now that we have 7 tracks that merge doom metal with obscure folk, death/thrash with industrial, black metal with jazz, angelic music with thrash, and alas, some extreme circus waltz for the demented.   Lyrically, we explore the necessity of a human touch in today's ever technological society, how to overcome anxiety, art as a catharsis, and how inner battles can be overcome, sometimes alone sometimes with the help of others. We might not sing about Satan, nor about gore, but we do have a song about a little boy who killed a clown, and another one about many giants who did not kill anyone! Sorry if this sounds like we are fucking with your readers, but we actually enjoy playing games. Quoting our closing line from our 2024 single "The Wards Outside" one needs not fear shame to play this game! Returning to Malta for Grim Reaper Festival 2026 marks the band’s first Malta live show in 28 years. What does it mean personally and artistically to bring Sceptocrypt’s current incarnation back to the scene where it started?   To me it means the world! Sceptocrypt was found in Malta, and Malta has shaped my formative years as an underground music afecionado, so really looking forward, more so as we play the legendary Grim Reaper Festival, at which I had played with my ex-band Dysmenorrhoea but never with Sceptocrypt. My new bandmates are also looking forward, firstly to meet the ex- bandmembers, but mostly to connect with Sceptocrypt fans past and new.   Sceptocrypt are scheduled to play a late set at Grim Reaper Festival, part of its 25th anniversary celebration with a lineup of Maltese heavy bands. How are you preparing for this more culturally significant gig, and what do you want the audience to take away from your performance?    We present ourselves as a rollercoaster of emotions, a Ying and Yang of dissonance and consonance that could please and displease in not so equal measures. So I would leave it to each and every single individual of the audience to drown themselves in the Sceptocrypt experience at 10pm, and come out of it as it appeals to them on the day. On the cultural side, I am so looking forward to listen to Viper Soup Complex (who I happened to miss each time they played London as they were too lazy to advise me ahead haha), Repugnance (a death metal act that were still in their formation when I left Malta), and the legendary Forsaken with whom we shared a stage in 1995 when we both supported Anathema. And of course the other bands too. Nik from Metal Alliance Malta has been working hard to get a diverse line-up that represents a solid cross-section of Maltese bands, and we can't wait to have a good time with the other bands on the day.   Given your new material plus legacy sound, how are you balancing old influences with new compositions in your live set for Malta? Will you be trying anything unexpected or specific to Grim Reaper?   We are predominantly playing newer stuff from our upcoming album, but we might be having a surprise up our sleeve.   The Maltese heavy scene and global underground have changed immensely since the 1990s. How do you see today’s listeners receiving Sceptocrypt’s avant-garde style, especially in a live festival atmosphere?    However they may please. It is up to everyone's own experience of life and music how to receive Sceptocrypt, and any other band for the matter. Adding a sampler/synth player (Jacek) to the band is unusual for many extreme metal lineups. How does this element factor into both the writing process and  live performance energy?   The fact that we call ourselves as Extreme Music not extreme metal allows us the freedom to experiment with many other sounds. How it works in the writing process is pretty easy as we generally add samples and synths later, and see what works. In other words, the songs have to work first without the samples so the main energetic core of guitar-drums-bass is solid, and then we start adding.   With this February return to Malta and shows in London lined up, how do you envision Sceptocrypt’s performance schedule expanding in 2026 and beyond? Is Malta a priority for future visits?    We are currently working on more UK dates, while we remain open for any other offers from overseas. This of course includes Malta, so if any promoter is interested just email us at sceptocryptmusic@gmail.com . As someone who’s carried Sceptocrypt’s vision from the 90s into its present form, how do you balance honoring the band’s origins with pushing into new experimental territories that reflect who you and the band are now?   I feel there is no need to balance. Music is the representation of who an artist is at a certain point in time, both musically and as a person. Some things have not changed, others have, without forcing anything. As long as it is a genuine representation of one's feelings, the audience will pick up on that.   Any final words? Yes. To complement our rebirth, we have pressed a limited run of T-shirts themed around our debut "Wild Code of Reverie" debut demo. If anyone wants a shirt, please pre-order at www.sceptocrypt.bandcamp.com/merch as we are flying light and thus aim to bring only the necessary amounts pre-ordered.   One can also listen to our latest single "This Odometer Syndrome" at https://youtu.be/HsfLtCSvlF And connect with us at www.linktr.ee/sceptocrypt   See you on 9th February! 30 Sceptocrypt T-shirts  were produced, and just a few remain available . This strictly limited collector’s item is open for pre-order until 5 February 2026 , with all confirmed orders available for in-person collection  at upcoming live shows: 6 February 2026 at The Dev in London  as part of Dark Clouds Over Camden Fest , and 9 February 2026 in Malta  at the Grim Reaper Festival  at Tigullio Complex. Once these are gone, there will be no reprints.   #youneednotfearshame

Maltese musician Peklektru is set to release the album ‘Għadna Għaddejjin’ on the 5th of February, 2026. The album comprises 9 songs of mostly groove-oriented rock songs with heavy influences of reggae/ska and funk rhythms. A number of songs from the album are being released prior to that date as lyric videos on social media platforms. Lyrically the songs explore different aspects of life and the human condition, tackling dramatic subjects in an often light-hearted way, and celebrating human resilience in the face of life’s inevitable adversities. Speaking about where ideas for songs come from Peklektru said “I like to look at my role as that of an antenna that captures ideas floating out there. Obviously my own personal imprint is then interwoven in them as they go through me and the artistic choices I make, but anything could start the process, it could be something somebody said, or an observation I make that lingers in my head. The exact place where ideas spark to life remains a bit of a mystery to me”. Speaking about the album Peklektru added “With this batch of songs, I feel like I have found a thematic voice that I feel is distinctly my own. However, the ultimate aim of music is to communicate, so I also like to zoom out of that which makes us individuals and see within it the general, that which is also shared by others in our collective humanity”. The album was produced by David Vella of Temple Studios and features seasoned musicians Ivan Borg on bass and Michael Briguglio on drums. Peklektru is the music alter ego of Patrick Galea, co-founder of local band dripht, who previously also operated under the moniker Peklectrick. His debut album ‘Reclaiming Space’ was released in 2007. Following a fifteen-year hiatus away from creating music Peklektru returned in 2023 with the single Ejja Sibni, featuring Brodu singer/songwriter Zizza on vocals. In 2024 Peklektru appeared on a couple of Brodu songs, on their album Kusksu Clan. He released the protest song Mandragreen late in 2025.

METALLUM IDUS MARTIAE TO UNLEASH AN IMMERSIVE INTERNATIONAL HEAVY METAL RITUAL IN MALTA Żebbuġ, Malta – Saturday, 14 March — Metallum Idus Martiae, an immersive Heavy Metal gathering forged in mystery, tradition, and uncompromising sound, will descend upon Malta on Saturday, 14 March, transforming The Garage in Żebbuġ into the epicentre of ritualistic intensity and sonic power. Inspired by the ominous symbolism of the Ides of March , Metallum Idus Martiae is conceived as more than a concert—it is a ceremonial convergence of history, myth, and extreme music. The event summons internationally acclaimed metal acts from beyond Malta’s shores to deliver a night defined by raw aggression, dark atmosphere, and thunderous performance. Headlining the event is VARATHRON (Greece) , pioneers of Hellenic black metal, whose legacy and occult-driven sound have influenced generations of extreme metal worldwide. Joining them are DARKEND (Italy) , renowned for their cinematic black metal aesthetic and immersive stage presence, alongside Malta’s own KILLERWITCH , bringing ferocious local power to the international lineup. From the moment the doors open at 20:00 hrs , attendees are invited to step into a realm where steel, sound, and shadow converge—an uncompromising celebration of Heavy Metal culture in its most primal and evocative form. EVENT DETAILS Event: Metallum Idus Martiae Date: Saturday, 14 March Venue: The Garage, Żebbuġ, Malta Doors Open: 20:00 hrs Entrance: €35 (online) Line-up: VARATHRON (Greece) DARKEND (Italy) KILLERWITCH (Malta) Metallum Idus Martiae stands as a definitive statement for Malta’s heavy music scene, reinforcing the island’s position as a destination for international metal culture and live performance. For fans of extreme music, dark tradition, and uncompromising live energy, this is a night not to be missed

With the release of Wishing Well  on January 16th, Myles officially unveils the final single from the forthcoming album Bare Bones , bringing a carefully paced and deeply personal release campaign to its final chapter ahead of the full album launch on 27th February 2026 at Tigullio . Bare Bones  has been steadily introduced throughout the year via a series of singles, each offering a different emotional and sonic perspective while stripping things back to their most honest form. The campaign began with “Gratitude Song”  on July 26th, setting the tone for the record with its reflective warmth. This was followed by “28 Tabs Open”  on September 26th, capturing the restless energy of a cluttered modern mind, before “Follow”  arrived on October 31st, continuing the narrative thread with layered textures and subtle urgency. December 9th saw the release of “Healing,”  an intimate acoustic track that leaned fully into vulnerability, paving the way for “Wishing Well,”  the final single and current release. As a closing statement before the album drops, Wishing Well  acts as both a moment of reflection and a quiet turning point — a song about hope, patience, and letting go. While these five tracks have already been released individually, Bare Bones  still holds four unreleased songs , which will be unveiled together after the official album launch, giving listeners a complete and uninterrupted experience of the record as it was intended. Bare Bones  Album Launch – Live at Tigullio 📅 27 February 2026 📍 Tigullio The album launch will be celebrated with a special live event featuring a three-band lineup : Outbound (Acoustic) Dean Muscat & The Lazarenes Myles (Full Band) Tickets are priced at €15 , available both online and at the door. Physical copies of Bare Bones  will be printed and available for purchase on the night. Fans can also opt for a €25 combined ticket , which includes general admission, a CD copy of the album, and exclusive access to a private listening party  taking place two days prior to the main event . Tickets: https://ticketlane.mt/myles/bare-bones-album-launch-myles-dean-muscat-and-the-lazarenes-outbound-acoustic Event page: https://www.facebook.com/share/1G6RrycDAK/?mibextid=wwXIfr With Bare Bones , Myles delivers a body of work that values honesty over polish and connection over excess — an album best experienced live, loud, and together. The Tigullio launch marks both the end of a carefully curated single rollout and the beginning of the album’s next life in full.

Weeping Silence Announced for Malta Metal Meeting 2026 Following their announcement for Aural Frost (Malta Metal Alliance 2026), Malta’s own Weeping Silence is proud to reveal their next live appearance: a performance at the Malta Metal Meeting 2026, a brand-new two-day open-air heavy metal festival set against the breathtaking backdrop of Mdina and the Mediterranean Sea. This landmark event, organized by the team behind the renowned Dark Malta Festival, will take place at Gianpula Village on 24th and 25th April 2026, bringing together top Maltese acts and world-renowned international bands for an unforgettable weekend of heavy riffs, mosh pits, and pure metal energy. Event Details • Dates: Friday 24th & Saturday 25th April 2026 • Venue: Gianpula Village, Malta • Tickets: Weekend passes available now at www.metal-malta.eu Line-up Highlights: • In Extremo (Germany) • Orden Ogan (Germany) • Septicflesh (Greece) • Plus a killer roster of Maltese metal band A Festival Like No Other For the first time ever in Malta, fans will experience a two-day open-air heavy metal festival with the option to camp on-site, transforming the event into a full Mediterranean getaway. Imagine headbanging under the sun, surrounded by historic scenery, and partying under the stars as the sea breeze carries the sound of crushing riffs.

OFFICIAL ANNOUNCEMENT We regret to inform you that due to a serious accident involving Efthimi Karadima, vocalist of NIGHTFALL, who is currently hospitalized, the band’s performance at FROZEN SYLPH, scheduled for 7 February at The Garage, Żebbuġ, Malta, has been postponed to a later date. We are pleased to confirm that NIGHTFALL will instead perform on our local stage at PECCATORUM on 5 September 2026. We extend our heartfelt wishes to Efthimi for a full and speedy recovery, and we look forward to welcoming him back to the stage soon. Ticket Information : All ticket holders will be contacted directly with details regarding the €10 refund process. FROZEN SYLPH ticket prices have been reduced from €35 to €25. Tickets are available now at ticketboot.com . Thank you for your understanding and continued support See you in the pit

The Valletta Baroque Festival 2026 continues to exceed expectations, recording outstanding attendance figures as audiences from Malta and across the world gather to experience one of Europe’s most distinctive celebrations of Baroque and early music. Produced by Festivals Malta, the festival opened on 8 January and is now entering its final week with momentum undiminished. Now in its 14th edition, the Valletta Baroque Festival has firmly positioned itself as a cultural highlight on the European calendar, presenting an ambitious programme set within some of the island’s most opulent historic venues. Under the artistic direction of Kenneth Zammit Tabona, this year’s festival has welcomed a remarkable array of international and local artists and ensembles. Iconic locations such as St John’s Co-Cathedral and the historic Teatru Manoel have played host to performances that have consistently drawn full houses, offering audiences a rare opportunity to experience Baroque music in spaces that resonate with history, architecture and artistic heritage. The festival’s programming continues to demonstrate both depth and innovation. Alongside major sacred and instrumental works, one of the most anticipated highlights still to come is Pelopida , a recently rediscovered Baroque opera by Maltese-born composer Girolamo Abos. Presented as a fully staged production, Pelopida  reflects the festival’s commitment to musical rediscovery while placing Malta’s own Baroque legacy firmly on the international stage. © 2026 by Festivals Malta Innovation is also at the heart of BaRock. Taking place on 24 January 2026 at the Salesian Theatre in Sliema , BaRock offers a bold fusion of Baroque masterpieces and rock music. The performance brings together The Rock Troupers  and the Pro Mużika Ensemble  in a genre-crossing collaboration that reimagines music by composers such as Bach and Vivaldi alongside iconic rock influences including Pink Floyd and Jon Lord. BaRock exemplifies the festival’s openness to creative reinterpretation, demonstrating how Baroque forms and structures can find new life in contemporary musical contexts. With an exciting final week still ahead, the Valletta Baroque Festival continues until 25 January 2026 , reaffirming its reputation for artistic excellence, innovation and audience engagement. The Valletta Baroque Festival is organised by Festivals Malta in collaboration with Teatru Manoel, supported by Visit Malta and the Ministry for Culture, Lands and Local Government, and sponsored by Schweppes. For more information and full programme details, visit www.festivals.mt/vbf

On Friday 30 January 2026, Spazju Kreattiv in Valletta will host Nordic Resonance , an immersive concert by Maltese sound artist and percussionist Renzo Spiteri, co-created and performed with Scottish flautist Richard Craig. The performance marks Spiteri’s return to the venue after an absence of several years, reconnecting him with a space that has played a formative role in his artistic life. Spiteri has described Spazju Kreattiv as a theatre “that holds many positive and meaningful personal memories”, having performed there repeatedly over the years in a wide range of contexts — as a soloist, within ensembles, and across interdisciplinary productions including contemporary dance, storytelling and musical theatre. His return is therefore both personal and artistic, offering a new work that reflects the evolution of his practice while remaining rooted in long-standing creative relationships with place and performance. At the heart of Nordic Resonance  is Spiteri’s lived experience of Shetland, where he spent six years and developed a deep engagement with the islands’ natural environment. The work is conceived as a contemporary sonic portrait — what Spiteri has described as “a sonic postcard” — capturing the character of a landscape defined by elemental forces, seasonal extremes and a strong sense of community. Rather than illustrating Shetland in a literal or programmatic way, the performance translates environmental experience into sound, texture and gesture. Field recordings gathered over an extended period form a central layer of the work. Bird calls, the force of the wind, the shifting moods of the sea, frozen ponds and underwater sounds all contributed to shaping the musical language of Nordic Resonance . These sounds are sometimes presented in their pure, recognisable form, and at other times transformed into abstracted textures that blur the boundaries between natural and human-made sound. As Spiteri has explained, these recordings did not function merely as background material, but actively influenced how the music was conceived and performed: both musicians “responded to, reacted against, and sometimes created counterpoints to the natural textures and field recordings”. Live improvisation is fundamental to the structure of the performance. Spiteri works with percussion, electronics and real-time sound processing, while Craig brings a highly developed and expansive flute practice shaped by years of collaboration with composers, improvisers and contemporary ensembles. Together, they navigate a space where composition and spontaneity coexist, allowing the performance to remain fluid and responsive. Reflecting on this approach, Spiteri notes that because “the sounds of nature are constantly in flux”, the musicians felt their playing should reflect “the same sense of impermanence”. As a result, no two performances of Nordic Resonance  are the same; each one unfolds as a new conversation between environment, memory and sound. Presenting Nordic Resonance  in Malta introduces an additional layer of meaning. The stark, windswept openness of Shetland’s sound world is placed in dialogue with Malta’s dense and vibrant acoustic environment, inviting audiences to reflect on how geography shapes listening and perception. Rather than offering escapism, the work creates a space for heightened awareness — an alternative listening experience that encourages stillness, attention and reconnection with the sonic environments people inhabit daily. Following the performance, audiences are invited to remain for a Q&A session with visual artist Vince Briffa. The discussion will delve into the conceptual foundations of the work, addressing broader themes such as sound, environment, impermanence and artistic process, and offering insight into how Nordic Resonance  sits within Spiteri’s wider practice. The Valletta performance comes at a particularly significant moment in Spiteri’s career. In 2025, he was awarded the Royal Television Society Craft and Design Award for Sound and received an Emmy® Award nomination for Outstanding Sound in Documentary, recognition that reflects the depth and precision of his sonic work across media. Yet Nordic Resonance  foregrounds live performance as a vital site of experimentation and encounter, reaffirming Spiteri’s long-standing commitment to sound as an embodied, shared experience. Co-creator Richard Craig brings an equally distinctive voice to the collaboration. Described by Gramophone Magazine  as performing in “a primal, at times ecstatic state of Fauvist force”, Craig is known for pushing the expressive boundaries of the flute through contemporary repertoire, improvisation and interdisciplinary collaboration. His involvement is central to the work’s balance between intensity and fragility, structure and openness. Nordic Resonance  is presented as part of the Spazju Kreattiv 2025/2026 programme, with further performances planned in Shetland and Glasgow. The project is supported by the National Lottery through Creative Scotland, with additional support from Band Aid Music Malta. Ultimately, Nordic Resonance  is an invitation rather than a statement — an invitation, in Spiteri’s words, “to immerse yourself in this experience and become part of the journey”. In an increasingly saturated and noisy world, the concert offers a rare moment of grounding and attentiveness, allowing sound, place and presence to resonate across geographies. Nordic Resonance Friday 30 January 2026 | 8:00pm – 9:00pm Spazju Kreattiv, Valletta Tickets: https://spazjukreattiv.org/event/nordic-resonance/

New Music from Long-Awaited Full-Length Recording Project Released 13 January 2026 After years of writing and recording with a reinvigorated lineup, avant-garde extreme music collective Sceptocrypt  announced the release of their preview single “This Odometer Syndrome” , which was officially unveiled on 13 January 2026 . The track serves as the first public offering from the band’s forthcoming full-length album, currently in progress. “This Odometer Syndrome” was assembled during 2025 by key members Pawel (vocals), Malcolm (guitars & backing vocals), and Skyler (bass, FX & drums). Ahead of the single’s launch, Sceptocrypt  stated the recording would be expanded further with enhanced drum and vocal performances, as well as additional samples and sonic layers contributed by newly integrated members Mark (drums) and Jacek (samples). The song explores themes of technological dependency and social disconnection, juxtaposed against Sceptocrypt’s  signature experimental intensity. Its opening samples and provocative structure reflect the band’s ongoing commitment to “Extreme Music Research” — a self-described approach that embraces dissonance, eclectic influences, and boundary-pushing sound architecture. Alongside the single release, Sceptocrypt  confirmed festival appearances showcasing material from the new album, including performances at Dark Clouds over Camden  (6 February 2026, London) and Grim Reaper Festival  (9 February 2026, Malta). Fans are also able to pre-order a limited run of T-shirts and rare demo bundles  timed to coincide with this creative rebirth. These items hearken back to the band’s early work and underscore the historical significance of Sceptocrypt’s  return after a long absence from the live circuit. As noted in a recent Melodija.eu  press release, this merchandise run represents a rare opportunity to connect with the band’s legacy and support their renewed artistic trajectory. For streaming, updates, and ticket information, visit sceptocrypt.com  and follow the band on their official social channels. "This Odometer Syndrome" can be streamed here www.sceptocrypt.com

Akustika returns with The Acoustic Club , an intimate acoustic concert set within the warm, vintage atmosphere of Sala San Duminku, Valletta. Now in its 11th edition , Akustika – The Acoustic Club brings together ten outstanding musicians for two special nights of acoustic reinterpretations. Expect over 20 carefully curated songs — from rock classics by Queen, Billy Joel, The Cranberries, The Beatles, Phil Collins, Tori Amos and Iron Maiden, to jazz standards and Maltese repertoire — all reimagined in a stripped-back, unplugged setting where musicianship takes centre stage. 📅 27 & 28 February 2026 ⏰ 8.00pm 📍 Sala San Duminku, Valletta Early bird tickets are available — for a limited time only Secure your seats early and enjoy special pricing before standard tickets are released. Buy Tickets Exclusive Front-of-Stage Tables For those seeking a truly immersive experience, a limited number of exclusive tables for four are available directly in front of the stage . These premium tables offer unparalleled proximity to the performers, placing you at the heart of The Acoustic Club experience. Availability is extremely limited. All proceeds from Akustika present The Acoustic Club support guitar-teaching programmes organised by the Strummin’ Foundation , helping make music education accessible within our community. Join us for two intimate evenings of timeless music, reimagined — and be part of something that gives back. Warm regards, Akustika

ANGELCRYPT RETURN WITH CLASSIC LINEUP, NEW SINGLE “WHERE SKIES RAINED IRON,” & MASSIVE 2026 EUROPEAN TOUR Melodic death metal veterans Angelcrypt enter 2026 stronger, louder, and more focused than ever, marking a powerful new chapter with the return of their classic lineup and the announcement of a deeply historical new single, “Where Skies Rained Iron.” After years of evolution, the band reunites with their original brotherhood intact. Drummer Robert Friggieri returns to his rightful place behind the kit, restoring the lineup that defined Angelcrypt’s most formative era. Joining him are Jean Cutajar on bass, Karl Friggieri on guitars, and Shawn Mizzi on guitars and vocals. The chemistry is immediate, the intent unmistakable, Angelcrypt are back to reclaim what is theirs. 'Where Skies Rained Iron' artwork A SONG BORN FROM HISTORY AND SURVIVAL Scheduled for release in March 2026, “Where Skies Rained Iron”  is more than a single; it is a tribute forged in fire and memory. The song explores the harrowing reality of Malta during World War II, the most bombed place on Earth during the conflict, where relentless aerial bombardment sought to break the island’s spirit. At the heart of the track lies one of Malta’s most powerful wartime stories: the Miracle of the Mosta Dome. In 1942, a German bomb pierced the massive dome of the Mosta Rotunda church, landing among hundreds of civilians who had taken shelter inside. Against all odds, the bomb did not explode, and every life inside was spared. To this day, the incident stands as a symbol of survival, faith, and defiance in the face of total destruction. Angelcrypt channel this moment with crushing riffs, soaring melodies, and an atmosphere thick with tension and reverence, capturing both the terror of the bombings and the unbreakable resilience of the Maltese people. It is a song that honours history without romanticising war, turning remembrance into sound. This is their most aggressive and intense work yet. Where Skies Rained Iron Tour 2026 2026: TAKING THE IRON ACROSS EUROPE To bring this new era to the stage, Angelcrypt will embark on an extensive 2026 European tour, beginning where it rightfully belongs, in Malta, with a performance at one of the island’s biggest metal festivals, Malta Metal Meeting, marking both a homecoming and a symbolic opening chapter for this new era. From there, the tour pushes north into unexplored territory in Sweden and Norway, a long-awaited step into the heartlands of melodic death metal. These shows mark the band’s first deep push into Scandinavia, where their sound finds natural kinship with the genre’s origins. The journey then descends into Germany, highlighted by an appearance at the well-renowned Pure F**king Metal Festival, a proving ground where Angelcrypt will unleash their renewed fire on one of Europe’s most dedicated metal audiences. Afterwards, the tour continues eastward into what the band proudly calls their second home: Eastern Europe. Cities in the Czech Republic and Poland, long-standing strongholds of Angelcrypt’s fanbase, will once again witness the band’s intense live presence. The tour will conclude with a final, special chapter, a surprise that the band is not yet ready to reveal, closing the journey on a note that promises something truly memorable. WE ARE BACK With a restored lineup, a single rooted in powerful true events, and a tour that spans new horizons and trusted ground, Angelcrypt in 2026 is not a reunion, it is a reckoning.

Limited once-only run T-shirts + rare demo bundle Pre-order by 20th Jan! (live stream with Q&A on 12th Jan) As to complement Sceptocrypt’s return to the live stage after 28 years , we have decided to press a very limited once-only run of T-shirts. With the lyrics “And the eyes of the scorn grace my deeds, I’m reborn” (off “The Ancient Morning” from our debut demo Wild Code of Reverie ) on the back of the shirt emphasizing the band’s rebirth idea, we thought it best to put the demo’s very cover on the front. Also, as we have some tapes still available from back in the 90s, we decided to release some bundle offers! Prices are £23 Bundle OR £20 T-shirt only for UK €30 Bundle OR €25 T-shirt only for Malta (orders to be made in £) Head to https://sceptocrypt.bandcamp.com/ to order in time for collection at our gigs. If interested in a bundle (or T-shirt only), please pre-order by not later than 20th January, as to allow us time to have them pressed. Orders will not be posted, but can be collected at our 6th or 9th Feb shows at the respective Dark Clouds over Camden (London) and Grim Reaper (Malta) Festivals. More info at  sceptocrypt.com/live-shows . Do note, this is a rare pressing – our only press with the old logo – will not be pressed again in the future – comes as bundle with even rarer 1996 demo (stocks are limited so hurry if intent to order bundle) – by pre-order up to 20 Jan 2026 only Thank you in advance for your support & orders! In line with all this, we are also airing a 1hr listening party where you can chat with founder Malcolm to ask all things Sceptocrypt old and new! Access here Monday 12.01.26 at 7pm UK, 8pm CET.

FROZEN SYLPH 2026: WHERE FROST MEETS FURY Shrouded in ice and legend, Frozen Sylph returns to Malta on Saturday, 7th February 2026, bringing together an elite line-up of international heavy metal titans for a night of unmatched intensity. Hosted at The Garage, Żebbuġ, this year’s edition promises a mythical journey through darkness, power, and raw musical energy. As the chill of February settles, the veil lifts on a storm of sound, shadow, and fury. Metalheads are invited to prepare for a night where the atmosphere is as relentless as the riffs, and the power of music becomes an elemental force. Line-up: NIGHTFALL (Greece) YOTH IRIA (Greece) GAME OVER (Italy) MURDOC 104 (Malta) (Greece) Formed in Athens in 1991, NIGHTFALL was the first Greek metal band to sign with a foreign label, releasing landmark albums such as Parade into Centuries and Macabre Sunsets. Over three decades, the band has evolved from early live crusades to studio-driven masterpieces, including their latest album, At Night We Prey (2021), which confronts mental health stigma through a relentless blackened sound. NIGHTFALL’s upcoming eleventh album, shaped by the monumental production of Jacob Hansen, promises the band’s most epic, cathartic, and powerful work yet—a musical odyssey through pain, resilience, and transcendence. (Greece) Emerging from the Hellenic black-metal tradition, Yoth Iria is led by Jim Mutilator (Rotting Christ, Varathron) and The Magus (Necromantia, Thou Art Lord), blending ancient Greek occultism with modern ritualistic intensity. From their early EP Under His Sway (2020) to the critically acclaimed Blazing Inferno (2024), Yoth Iria has forged a reputation as one of the genre’s most inspired modern forces. With a forthcoming full-length album due in May 2026 via Metal Blade Records, the band continues its relentless evolution, channeling darkness, melody, and spiritual fire on an epic scale. (Italy) Known for ear-shattering riffs, anthemic gang-vocal choruses, and adrenaline-fueled shows, Game Over has released six studio albums and toured across Europe, the U.S., Japan, and China. Sharing stages with legends like Megadeth, Exodus, Testament, and Sodom, the band delivers a live experience that forces heads to bang and hearts to race. Malta Hailing from Malta, Mur.Doc 104 channels the raw thrash energy of the 1980s Bay Area scene. Since forming in 2015, the five-piece band has become a mainstay on the local metal circuit and shared stages with international acts such as Leprous, Omnium Gatherum, and Kryptos. Their debut EP The Undying (2023) and singles Insolenza / Reign of the Dead showcase a fierce, uncompromising sound that resonates both locally and internationally. Event Details: Date: Saturday, 7th February 2026 Venue: The Garage, Żebbuġ, Malta Doors Open: 20:00 hrs Tickets: €35 Frozen Sylph 2026 is part of the Malta Metal Alliance 2026, a celebration of the island’s thriving heavy metal community and its connection to the international scene. This is more than a concert—it’s a gathering of spirits united by darkness, intensity, and the transcendent power of metal. Step into the storm. Embrace the frost. Let the fury take hold.

Damaged&Co are back After a brief hiatus from live performances in mid-to-late 2025, Damaged & Co. return in 2026 with a brand-new setlist built around fresh material as we delve deeper into concepts of the Self. The band enters this new chapter with an expanded line-up: Daniel Sammut – Guitars Peter Paul Valletta – Vocals Gwen Zammit – Drums Warren Vella – Bass Franny Schembri – Keys   Warren and Franny— replacing Alex and Keith, who stepped away for personal reasons — join the established members Daniel on guitar, Gwen on drums, and Peter on vocals and bringing in new flavours to the already established sound that marks the identity of the band. Despite the challenges of being based on the small island of Malta — with its limited population and even smaller metal scene — Damaged & Co. remain determined to get back onstage and deliver their signature Alternative Metal sound. The band now looks forward to building on their national and international experience, having performed twice in Italy (SbamFest 3 and Rock in Park 2022) and once in Israel ( we all know where that lead). Locally, they have opened for Lordi at the Aria Complex and performed twice at Dark Malta Festival, sharing the bill with acts such as Deathstars, Combichrist, and Diary of Dreams.

Tony Carr, the pioneering Maltese drummer and percussionist whose remarkable career spanned jazz, pop and international session work, died on January 2, 2026 , at the age of 98 . Born George Caruana  in Valletta in 1927 , Carr’s journey from the smoke-filled bars of Malta’s Strait Street to world-renowned studios in London made him one of Malta’s most distinguished musicians of the 20th century. Carr came of age during World War II, when Malta’s nightlife was animated by Allied servicemen and visiting musicians. Drawn to jazz at a young age, he learned his craft in local clubs and dance halls, absorbing the rhythms and improvisational styles of African-American jazz musicians passing through the island. By the late 1940s, he had become a central figure in one of Malta’s earliest jazz trios, helping to introduce modern jazz to local audiences. In 1952 , Carr left Malta for London , determined to pursue a full-time career in music. The early years were difficult, marked by financial hardship and sporadic work, but his technical precision and musical sensitivity gradually earned him recognition. His major breakthrough came when legendary American bandleader Billy Eckstine  selected him for a European tour, later praising Carr as one of the finest accompanists he had encountered in Britain. From the 1960s through the early 1980s , Carr became one of the UK’s most reliable and versatile session drummers. He worked across jazz, pop, soul and rock, performing and recording with artists such as Ella Fitzgerald, Dizzy Gillespie, Paul McCartney, Tom Jones, Cliff Richard  and many others. Among his most notable appearances was his participation in Paul McCartney’s Rockestra project , where he recorded alongside members of Led Zeppelin and other leading rock musicians of the era. Despite his international success, Carr remained relatively unknown to younger generations in Malta for many years. This began to change in the 2020s, as renewed interest in Malta’s musical heritage brought his story back into public consciousness. A significant milestone was the release of the documentary Strait Street to Abbey Road , which traced Carr’s path from Valletta’s jazz scene to London’s elite recording studios, restoring his place in Maltese cultural history. Tony Carr is remembered not only for his exceptional musicianship, but also for his quiet determination and professionalism. His death on January 2, 2026 , marked the end of a life that mirrored the evolution of modern popular music and stood as a testament to the global reach of Maltese talent. Timeline: Tony Carr – Life and Career 1927  – Born George Caruana  in Valletta, Malta. Early 1940s  – Discovers jazz during World War II; begins performing in Strait Street venues. Late 1940s  – Becomes part of one of Malta’s earliest jazz trios, helping shape the island’s jazz scene. 1952  – Moves to London to pursue a professional music career. Mid-1950s  – Gains international exposure touring Europe with Billy Eckstine. 1960s–1980s  – Establishes himself as a leading UK session drummer, working with major jazz and pop artists. Late 1970s  – Records with Paul McCartney’s Rockestra supergroup. 2024  – Life and career celebrated in the documentary Strait Street to Abbey Road . January 2, 2026  – Dies aged 98, leaving behind a lasting legacy in Maltese and international music history. Photos: Ġużè Camilleri Further reading: Tony Carr: A Forgotten Giant of Jazz Remembered in New Documentary

On 26 December 2025, the M.A.D. Communal Annual Compilation  was released, marking another significant chapter in the collective’s ongoing documentation of experimental and underground sound. This year’s edition is an expansive release, featuring 104 tracks  from a diverse range of acts, each contributing to a compilation that traverses dark ambient, drone, noise, industrial, and tribal soundscapes. Accompanying the compilation download is a comprehensive PDF booklet , which includes artworks and direct links from all 104 participating acts. In most cases, the document also provides contextual information about the artists, offering listeners deeper insight into the creative identities and concepts behind the music. Together, the audio compilation and PDF form a curated archive that is as informative as it is immersive. Among the contributors to this edition are four Maltese acts , whose tracks stand out for their thematic depth and uncompromising sonic intensity. Cultura Obscura – “Lights Out” (Track 5) “Lights Out” is an experimental dark ambient piece rooted in drone and noise  elements. The track unfolds as an ominous journey, drawing the listener into an unsettling atmosphere where tension and unease are carefully sustained. Its slow-moving textures and abrasive undertones create a sense of descent, reinforcing Cultura Obscura’s exploration of darkness as both mood and narrative. Devil’s Breath – “Paradox of Tolerance” (Track 8) Devil’s Breath contributes a dark drone tribal ambient  composition infused with industrial and noise influences. “Paradox of Tolerance” takes its conceptual inspiration from Karl Popper’s philosophical idea, which gained renewed relevance amid the polarised divisions and global turmoil of 2025. The track reflects this tension sonically, layering ritualistic rhythms with harsh, confrontational textures that echo conflict, contradiction, and ideological strain. Esoteric Ethiopia – “Rather Die A Quick Death Before Another Suffering Scene” (Track 10) Also situated within the realm of dark drone tribal ambient, Esoteric Ethiopia’s track incorporates industrial and noise elements to confront a deeply existential question. The piece reflects on the limits of human endurance, asking whether an imminent, quick death is more reasonable than prolonged suffering once irreversible tolerance to agony has been reached. The sound design mirrors this dilemma, oscillating between oppressive weight and moments of stark clarity. Acheron’s Mist – “Chinon” (Track 48) “Chinon” is an atmospheric dark drone ambient track characterised by a dense, noisy soundscape. Acheron’s Mist remains an anonymous project , adding an extra layer of intrigue to the music. Notably, the act’s primary musical identity lies elsewhere, as the artist is a veteran and established techno producer. This contrast underscores the versatility and depth of experience behind the project, as well as the freedom afforded by anonymity. Taken as a whole, the M.A.D. Communal Annual Compilation 2025  functions not just as a collection of tracks, but as a snapshot of contemporary underground expression. Through its breadth of artists, carefully documented visuals, and conceptually driven works—particularly from its Maltese contributors—the compilation stands as a testament to the enduring power of experimental music to reflect uncertainty, resistance, and introspection in turbulent times. Link to listen / buy album on Bandcamp

How yesterday’s improvisers are still colouring today’s hits Hi there, If today’s hits don’t sound like jazz, does jazz still matter? I think it does, because what survives is the approach , that is, improviser habits, micro‑timing, and harmony choices that make even loop‑based music feel alive. From New Orleans to now: the “DNA” that survived Jazz began as hybrid music, African rhythm, blues sensibility, European harmony, performed by people who bent rules on purpose. The one strand of DNA that keeps surviving is improvisation, that is making something new in the moment. Neuroscience studies on jazz players suggest that during improvisation, the brain’s self‑censoring quiets while expressive networks ramp up, a neural window into flow and fearless idea‑making. That’s the same mental gear many producers chase today when they leave the grid for a fresh take. And that sense of feel, the tiny choices about playing just behind, on, or ahead of the beat, matters more than most listeners realise. Research on micro‑timing shows how these small placement shifts shape groove and listener perception. In short, how we place the note is as important as what the note is. Where it shows up now Neo‑soul / modern R&B. Extended chords, third‑related cycles, tasteful reharmonisations, colours that grew up in jazz and now live comfortably in mainstream tracks (think Robert Glasper’s world feeding back into pop/R&B). Hip‑hop. Jazz and rap have been in dialogue for decades, live bands, sampling, and the whole jazz‑rap lineage. The flow, the harmony, the social voice, there’s a clear through‑line. Pop and electronic. Even “rigid” productions borrow syncopation, chromatic side‑steps, and elastic phrasing that trace back to jazz grammar. If you’re hearing Kendrick Lamar’s jazz‑infused productions (like the 2015 album To Pimp a Butterfly ) or Jacob Collier stack unlikely chords that still resolve satisfyingly, that’s the jazz tool‑kit at work, reharm, modulation, improviser’s timing in modern clothes. What we can borrow from jazz today Improvise on purpose. Give yourself one chorus, live or in the DAW, where you must try something you didn’t plan. It reduces self‑censoring and lets ideas surface. Listen like a bandmate. Jazz is collective; the skill is responding in real time. In any genre, practise reacting to the drums/lyrics/room, not just your part. Expand the harmony (sparingly). Try a tasteful substitution (add9, 11, altered V) where the lyric can carry it. The goal is colour, not clutter. Value the unexpected. A well‑timed rest, a behind‑the‑beat phrase, a reharm, small shocks that feel human. The bassist’s connection (and why it still matters to me) Jazz gave the bass a voice, dialogue with the drums, authority over harmony, soloing, and permission to shape time . That still drives how I approach groove in any context, note length before note choice, pocket before fireworks, space before speed. Keeping jazz alive across genres You don’t need a “jazz gig” to play with a jazz mindset. Musicians can steal the curiosity, the listening, the risk. Listeners can slow down and notice how a track breathes, not just what it is. Over to you Has a jazz‑tinged song ever changed how you hear a genre? Do you bring improviser habits into non‑jazz settings? Hit reply and tell me. Stay curious, and keep it in the pocket. This is my last post for 2025 . Thank you for reading, sharing, and supporting the music this year, it means more than you know. Wishing you and yours a restful, music‑filled holiday season. I’ll be back in January with news on some new and genuinely exciting projects lined up for 2026 and 2027 . Can’t wait to share what’s coming. Simon Optional reference notes (for linking in Substack) If you like reading the science/analysis side, here are a few places to start: fMRI work on jazz improvisation and the “flow” state (Limb & Braun) Micro‑timing and swing perception studies (e.g., Datseris and colleagues) Analyses of jazz‑influenced harmony in neo‑soul and modern R&B

On Saturday, five days before Christmas, Haine presented the third edition of Haine & Friends , this year titled Trinity of Chaos . It was likely the first time so many artists shared the same stage during a metal gig in Malta. In addition to the core members of Haine, twenty-four guest musicians joined the band at various points throughout a set that featured twelve songs, including two covers, which will be mentioned later. The event carried a bittersweet tone, as it marked the end of an era with Rene “Hades” Farrugia stepping down from managing the venue after eight and a half years. Rene later posted a nostalgic message on Facebook, thanking everyone who supported The Garage throughout the years: “8.5 years passed and the day to say Goodbye to The Garage  has arrived. Destiny wanted that the last few gigs were organised by great persons that also supported the venue, not for their own interest, but because they truly appreciated the sacrifices behind it. Had a lot to say, but I prefer not to put fuel on fire. Thanks for all of you that supported us during the last years (you know who you are) and wish all the luck to Jonathan, Franny and the team for taking over the venue. For sure it was a great learning experience and also a huge eye opener.” All of us at Melodija would like to thank Rene, and we wish the very best to the new management. Returning to the night itself, the event was opened by another energetic performance from Kodin Hill ’N The Pressed Pills. Since their first appearance, the band has been steadily building a strong following. They performed ten songs from their repertoire, and aside from the first couple of shows I have seen them play, this was, in my opinion, one of their strongest performances of the year and a fitting warm-up for what followed. The rotating cast of local musicians who joined Haine throughout the set included: Roderick Mifsud (Repugnance), Dario Pace Taliana (Pilgrimage/Weeping Silence), John Castiel (ex-Decline the Fall), Edward Tagliaferro (ex-Arachnid), James Byrne (Rankin), Lorenz Wenzu Joyce (ClubMurder), Sol Pearson (Align the Tide), Vincenzo Ammostr Coppola , and Kian Sullivan on vocals. Nick Morales (Bila/Dripht, amongst others), Clive Scerri (Fallen Icon), Daniel Camilleri (Grotium/The Glades), Michael Vassallo (Impertex), and Kyle Cortis (Luciferi Regnum/Sahhar) on bass. Victor Hugo Barreira (Halcyon/ClubMurder), Justin Caruana (Grotium/Marmalades/Luciferi Regnum), Gabriel Borg (Geistmaschine) and David Depasquale on drums. While on guitars : Jonathan Camilleri (Align the Tide), David Depasquale (Abysmal Torment/ClubMurder), Marta Privitera (Impertex), Emanuel Portelli (Thy Legion/Animamortua/ Hemplifier/Victims of Creation), Nick Bonello (Niket), Luke Agius (5 Years From Now), and Keith Fenech (Bound to Prevail) . Each guest brought their own interpretation of Haine’s material, delivering performances marked by near-perfect execution and professionalism. The first four songs performed with guests were taken from Haine’s debut full-length album Fertile Void , released on 24 January 2025. These began with Twisted Monuments , featuring Jonathan Camilleri on guitars and Victor Hugo Barreira on drums. For Insentient , Daniel Camilleri and Gabriel Borg joined on bass and drums respectively, while Vincenzo Ammostr Coppola joined Chris on vocals. The third song, Death Spiral , saw Emanuel Portelli on guitar and David Depasquale behind the drumkit, with Claudio returning on bass. This was followed by Blood Moon , during which Konrad handled drum duties and Sol Pearson joined Chris on vocals. The next song was taken from the band’s self-titled EP released in January 2021. Redefined  featured Jonathan Camilleri and Luke Agius on guitars, while John Castiel returned to the stage to join Chris on vocals. On bass, Clive Scerri also made a return. Many remember Clive from the Fallen Icon days, a band formed by singer Chris Bonello and drummer Konrad Saliba together with Clive. This was followed by the first of two covers performed on the night. Joined by David Depasquale on guitar and Lorenz Wenzu Joyce on vocals, the band performed ClubMurder’s Viral  from the 2019 album Massacre Masterpiece . Lorenz was a late addition to the lineup and, when spoken to after his performance, expressed his delight at being able to take part, while also praising Haine for covering a song by another Maltese band, something that is unfortunately less common than one might hope. The set then returned to material from Fertile Void with The Apparition , featuring Clive Scerri on bass and Kian Sullivan on vocals. Two songs from the Haine EP followed. A Hostile Anthem featured Marta Privitera on guitar alongside Jack Aron Pisani, Kyle Cortis on bass, Justin Caruana on drums, and Edward Tagliaferro on vocals. Hate.Illuminate followed, featuring Michael Vassallo on bass and Sol Pearson and Roderick Mifsud on vocals. The second cover of the night came next: Bila’s Bezzalart , released earlier this month, featuring Bila’s own Nick Morales on vocals. Nick remained on stage, this time on bass, for the next song, Haine’s 2018 debut single This Darkness , which also featured Nick Bonello on guitar and Kian Sullivan, along with Dario Pace Taliana on vocal duties. The final song on the setlist was the title track Fertile Void , performed solely by Haine. The crowd, however, called for more, and Blood Moon  was performed once again as a special send-off to Liam Coleiro, who was performing with Haine for the last time. With a lineup of this size, sound quality—both on stage and out front—was crucial. This was delivered to the highest standard by Steve Lombardo. The performance was a fitting tribute to both Liam and Rene and a memorable experience for everyone in attendance. There is little to criticise; perhaps the only wish is that this annual event should be recorded, at least for future generations if not released in some format, and that Christmas songs should be included. Regardless, this event remains a fantastic way to kick off the Christmas festivities, and many left already looking forward to next year’s edition. all photos property of Haine

Dean Muscat closes the year with new single “I’ll Be Fine” Following the release of his debut EP Lazarene  in May 2025, Maltese singer-songwriter Dean Muscat is rounding off the year with a new single, I’ll Be Fine .   Recorded at home and featuring contributions from his band, The Lazarenes — Jimmy Bartolo (guitars), Robert Galea (bass), and Luke Briffa (drums and percussion) — the song reflects on finding perspective and hope amid the noise of everyday life. The single artwork was illustrated by artist Christine Tong.   Speaking about the song, Dean says: “It’s been a year full of heavy headlines, and at times it’s hard to be optimistic. More than anything, this song is a reminder to myself that if I focus on what truly matters, family, friends, and those human connections that carry me forward, things will be fine.”   I’ll Be Fine is now available on all major streaming platforms and on YouTube. With more new music planned for 2026, follow Dean on social media and support his work directly via Bandcamp.   Links: Facebook: https://facebook.com/dsmuscatmusic Instagram: https://www.instagram.com/dean_muscat_music/ YouTube: https://www.youtube.com/@DeanMuscat Bandcamp: https://deanmuscat.bandcamp.com

GRIM REAPER FESTIVAL 2026 MARKS 25 YEARS OF MALTESE HEAVY METAL CULTURE St. Julian’s, Malta — Monday, 9 February 2026 — The GRIM REAPER FESTIVAL , Malta’s past-live celebration dedicated exclusively to local heavy metal, returns in 2026 to commemorate its 25th anniversary. Founded in 2001 by Nick Grima (Grim Reaper Organization), the festival has played a pivotal role in uniting Maltese metal bands, providing a dedicated platform for performance, collaboration, and the growth of the island’s underground music scene. The 2026 edition represents a landmark moment in the festival’s history, reaƯirming its cultural relevance within Malta’s underground arts community while honouring the artists who have sustained the scene over the past quarter century. Designed as a full day-to-night experience, the GRIM REAPER FESTIVAL 2026 will feature an expanded line-up of ten Maltese heavy metal bands, culminating in an extended afterparty with a special guest artist and a special 2026 live set. Event Details Date: Monday, 9 February 2026 (eve of a public holiday) Venue: Tigullio, St. Julian’s, Malta Doors Open: 12:00 hrs First Performance: 14:00 hrs Entrance: €30 Age Restriction: +17 P Performance Schedule: EVER OBSCURE — 14:00–14:45 SACROMENT — 15:00–15:45 FROM SHEEP TO WOLVES — 16:00–16:45 RANKIN — 17:00–17:45 DAMAGED & CO. — 18:00–18:45 ATOMIC FLAME — 19:00–19:45 VIPER SOUP COMPLEX — 20:00–20:45 REPUGNANCE — 21:00–21:45 SCEPTOCRYPT — 22:00–22:45 FORSAKEN — 23:00–24:00 ANCIENT REMAINS — 24:30–01:30 (Special 2026 live set) Beyond the live performances, the festival will conclude with an extended afterparty, offering fans and artists the opportunity to celebrate the milestone together and reinforcing the communal spirit that has defined GRIM REAPER FESTIVAL since its inception. To commemorate the 25th anniversary, a limited-edition GRIM REAPER FESTIVAL anniversary t-shirt will be released. Priced at €25, the shirt will be available exclusively by pre-order, underscoring its collector’s status for long-time supporters and new attendees alike. GRIM REAPER FESTIVAL 2026 stands not only as a celebration of heavy metal music, but as a testament to the resilience, creativity, and unity of Malta’s underground music community. This anniversary edition invites audiences, media, and cultural stakeholders to witness a defining chapter in Maltese alternative music history. Thank you so much for keep the Maltese Metal music scene alive with your support!