On Saturday, 8th March at 11:00AM, the female voices of KorMalta Women  will take centre stage at the prestigious Italian Cultural Institute for a special morning concert titled Her Story in Song: A Tribute to Women’s Strength . Marking International Women’s Day, this inspiring performance will celebrate the creativity, resilience, and enduring legacy of women across generations. From overlooked pioneers to contemporary local and international composers who continue to shape today’s musical landscape, the programme shines a light on women whose artistry has left — and continues to leave — a powerful mark on the world of music. Audiences can expect: 🎼 Beautiful, moving musical performances 🗺 A stunning venue in the heart of the capital city 🎶 KorMalta Women at their very best 🤝 A meaningful cause, with all proceeds in aid of the Malta Community Chest Fund This concert not only honours women’s voices in music but also reflects KorMalta Women’s commitment to artistic excellence and social responsibility. By attending, guests will contribute directly to charitable initiatives that support individuals and families in need across Malta. Join for this special morning of music, celebration, and solidarity. 🎟️ Tickets are available at: https://www.showshappening.com

International Black, Death & Doom Metal Acts Unite for a Night of Extreme Metal in Malta Malta’s underground metal scene is set to host an unmissable night of extreme music on Saturday, 7th March at The Garage, featuring an international lineup spanning black metal, death doom, and technical death metal. Headlined by internationally renowned Turkish black metal band Moribund Oblivion, the event will also feature Slovakia’s doom/death force Doomas alongside leading Maltese extreme metal acts Thy Legion and Halcyon. Doors open at 20:00, with entrance priced at €15. The event promises an immersive and intense experience for fans of extreme metal, showcasing both established international artists and rising local talent. The Bands Moribund Oblivion (Turkey) Formed in Istanbul in 1999 by vocalist and guitarist Bahadır Uludağlar, Moribund Oblivion has become one of the most internationally recognized black metal bands to emerge from Turkey. Their sound combines raw aggression with atmospheric depth, creating a powerful and immersive sonic identity. Their debut album, Khanjar, established their presence in the underground scene, while their latest release, Intertemporal, explores complex themes of time, existence, and perception through ambitious songwriting and refined musicianship. Moribund Oblivion has toured extensively across Europe and beyond, earning a reputation for their intense live performances and contributing significantly to the global recognition of Turkish black metal. Beyond performing, Uludağlar also organizes major metal events and founded the Bosphorous Metal Festival, further strengthening the extreme metal infrastructure in his home country. Doomas (Slovakia) Formed in 2006 in Nová Baňa, Doomas has established itself as a distinctive force in melodic doom/death metal. Their sound balances crushing heaviness with intricate melodic arrangements and atmospheric depth. Their acclaimed album R’lyeh draws inspiration from the cosmic horror mythology of H. P. Lovecraft, showcasing the band’s conceptual ambition and compositional strength. Having previously performed in Malta to strong audience response, their return is highly anticipated among local fans. Thy Legion (Malta) Formed in 2004, Thy Legion is widely regarded as one of Malta’s strongest extreme metal exports. Their blackened death metal combines relentless speed, heavy riffs, and dark atmospheres. Their latest album, Grand Cosmic Funeral, demonstrates their evolution, blending slow, crushing passages with explosive intensity. The band continues to expand its international presence, with multiple European performances and international bookings scheduled for 2026 and 2027. Halcyon (Malta) Representing the new generation of Maltese death metal, Halcyon formed in 2023 and quickly gained recognition for their technical precision and energetic live performances. Drawing influence from legendary acts such as Death and Sepultura, the band brings a modern yet old-school-inspired approach to their music. Following their debut performance at Rock the South, Halcyon continues to build momentum within the local scene. Event Details: Location: The Garage, Zebbug Date: Saturday, 7th March Doors Open: 20:00 Entrance: €15 This event represents a powerful convergence of international and Maltese extreme metal, reinforcing Malta’s growing reputation as an important destination for underground metal. Fans can expect an unforgettable night of intensity, atmosphere, and uncompromising sonic brutality

EIGHT BANDS TO COMPETE FOR A PLACE AT Wacken Open Air 2026 Żebbuġ, Malta — May 9, 2026 The Maltese metal scene will take centre stage on May 9th as WACKEN METAL BATTLE MALTA 2026 returns to The Garage music venue in Żebbuġ. Eight of Malta’s most formidable heavy acts will compete for the coveted opportunity to represent the nation at the international final of the Wacken Metal Battle, held during the world-renowned Wacken Open Air in Germany.   Recognized as the most significant annual metal event on the Maltese calendar, Wacken Metal Battle Malta offers emerging and established bands alike a career-defining platform. The winner will secure a place at the international Wacken Metal Battle final, performing before thousands of metal fans and global industry stakeholders at one of the largest and most prestigious heavy metal festivals worldwide.   Eight Bands. One Stage. One International Opportunity.   The competing bands for the 2026 edition represent a diverse cross-section of Malta’s heavy music spectrum:   Atomic Flame  – Heavy Metal From Sheep To Wolves  – Alternative Rock Haine  – Deathcore Killerwitch  – Traditional Heavy Metal Mur.Doc 104  – Thrash Metal No Humano  – Industrial Metal Rankin  – Groove Metal Upper Lip  – Hard Rock   Each act will deliver a live performance before a distinguished international jury panel composed of no fewer than ten industry professionals. This year’s panel includes music journalists, record label executives, and festival promoters, bringing a comprehensive and authoritative evaluation process that mirrors the standards of the international final.   Judging criteria will include musicianship, stage presence, originality, technical proficiency, and overall live impact — ensuring that the selected winner is fully equipped to compete on the global stage.   The event will also host the Wacken Metal Battle Malta 2025 national winners : MORSROT   Organized by Malta’s Official Wacken Representative   Wacken Metal Battle Malta is organized by Nick Grima, the official Wacken Metal Battle promoter for Malta, in collaboration with the Malta Metal Alliance and Festivals Malta / Rock N’ Malta. The event continues to strengthen Malta’s presence within the international metal community while fostering the growth and export potential of local talent.   With global visibility, international networking opportunities, and the chance to perform at Wacken Open Air, Wacken Metal Battle Malta 2026 stands as a defining milestone for any Maltese metal band seeking international recognition.   Event Details: Date:  May 9, 2026 Venue:  The Garage, Żebbuġ, Malta Doors Open:  17:00 hrs Tickets:  will be available at the door   For press accreditation, interviews, or further information, please contact Nick Grima: malta@metal-battle.com

New DIY fanzine launches 20th February, continuing local punk tradition. Malta’s punk community will celebrate the launch of Smashed to Shit: The Maltapunks Zine, a new independent publication documenting the local punk scene on February 20th at Kixott in Mosta. The zine continues the legacy of the original Maltapunks fanzine Pissed and Fucked Up, created by local scene veterans including il-Baħri, iż-Żgħiru, Kinnie, Dr Ċiż, and others in the 1990s/early 2000s. Smashed to Shit bridges generational gaps within the local punk community by featuring both established musicians from the ‘90s era and new bands shaping the scene’s future. Smashed to Shit is a raw, unfiltered look at Malta’s punk scene across generations. Expect candid conversations with local punk musicians and other members of the community. First Issue of Pissed and Fucked up Inside Issue #1 Issue #1 features unpolished interviews with punk veterans and emerging bands, exploring how the scene formed, evolved, and where it’s heading. The zine also rescues forgotten recordings from obsolete formats, and discusses what punk means in contemporary Malta. Readers will also find a lyrics section featuring songs they may have never heard of, or for some, a nostalgic reminder of the past. Created entirely through DIY methods without digital design software or AI tools, Smashed to Shit maintains the authentic cut-and-paste aesthetic of zine culture.   Launch Event Details The first issue will be available for purchase at the launch event on February 20th at Kixott, Mosta. Doors open at 8:00pm. The zine will be sold for €3, with limited copies available.   About Smashed to Shit Smashed to Shit: The Maltapunks Zine is an independent publication documenting the local punk scene. Created by volunteers from the local community, the zine acts both as historical archive and commentary on Malta’s underground punk culture. For copies, interview requests, or additional information, contact the team on Instagram (@smashed_to_shit) or Facebook (Smashed to Shiiit). Smashed to Shit Zine Issue 1 launch

Join Moira Stafrace and Band at Tigullio Night Club on February 21 at 8 pm for an unmissable night of live music. Maltese singer-songwriter Moira Stafrace steps back into the spotlight with a night of music by Moira Stafrace & Band. The live gig will take place on February 21 at Tigullio Night Club, where she will also be performing her brand-new single for the first time. The night will also feature a special supporting performance by Daisy Roots, setting the tone for an evening of unforgettable live music. Formerly one half of the singing duo Chris and Moira, the show marks Moira Stafrace’s artistic reintroduction onto the music scene, pairing her distinctive vocals with the rich, dynamic sound of a full band. The gig marks the start of the joint musical journey between Moira Stafrace and Band, for what promises to be a vibrant, ongoing collaboration. The performance will be packed with high-octane original songs, iconic covers, and the debut of the new single, for a live music experience you don’t want to miss. Tickets are available from ticketline.com.mt and doors for the event open at 20:00. This project was partly financed by the Rock ‘N Malta Fund. supporting band Daisy Roots ticket quick link

Singer-songwriter Lyndsay Pace has been awarded the Best Pop Song Award at the World Entertainment Awards in Los Angeles, Hollywood for her single “Trippin’,” taken from her debut album “Dopamine”. The award marks a major international milestone for Lyndsay, who is widely recognised in Malta for her participation in prestigious music festivals such as the Malta Eurovision Song Contest, X Factor Malta and Muzika Muzika. The song “Trippin’” stood out for its contemporary pop sound and authenticity, earning praise from industry professionals on a global platform. Speaking about the achievement, Lyndsay said: “Winning this award in Los Angeles is incredibly humbling! “Trippin’’ is a very special song and to see it resonate internationally means the world to me!” The World Entertainment Awards celebrate excellence across music, film and television whilst recognising both emerging and established talent worldwide. This win further cements Lyndsay’s position as one of Malta’s leading pop artists and signals an exciting chapter ahead in her international music journey.

On the night of January 31, 2026, WEEPING SILENCE , a local melodic metal with progressive and death metal influences, took the stage to headline the "Aural Frost" event. The band debuted two brand-new tracks inspired by dark corners of Maltese mythology: "Is-Sarangu" (The Sack Man) and "Il-Kavallier bla Ras" (The Headless Knight) . The event, organised by Nick Grima MGT , featured a heavy-hitting international line-up including Sinister Ghost (Italy), Void Moon (Sweden), and In Aevum Agere (Italy). Maltese Myths and Legends: The New Chapter Established in 1998, Weeping Silence blends progressive and death metal influences. Their current musical journey is a deep dive into the island’s heritage, with lyrics centred around Maltese myths, legends, and folkloristic creatures. Starting with their acclaimed album Isles of Lore, (A concept record where every track brings a different local legend to life) the band continues to expand this dark universe. • "Is-Sarangu" A chilling tribute to the boogeyman of Maltese streets. The lyrics paint a vivid picture of a "labyrinth of alleys poorly lit" where the Sarangu stalks the mischievous with his "sack of sorrow." The song’s transition from haunting clean vocals to aggressive sections perfectly mirrors the terror of the legend. • "Il-Kavallier bla Ras" This epic composition explores the tragedy of the Headless Knight of the Chapel of Bones, a local legend associated with the destroyed 17th century Chapel in Valletta, which was famously decorated with thousands of human remains. Utilising a blend of guttural growls and soaring melodies, the track tells the story of a Knight of St. John who lost his head during battle in the proximity of the Nibbia chapel. He was condemned to search for his head in this chapel that was known as the Chapel of bones. The knight’s ghost is reputed to haunt the grounds, purportedly still in search of his head.

Livin’ a Lie OutBound’s Brand New Single - A  narration of an intimate confession OutBound is a local Maltese Pop-Rock band founded in 2022 consisting of Catherine Gatt on Vocals, Steve Galea on Guitars, Matthew Drago on Bass and Louie Farrugia on Drums. The band mainly focuses on energetic and rock-fuelled performances aimed at younger crowds and youths searching for a more rebellious and alternative sound in the normal pop genre. Following the releases of their first two hard rock singles  "Nothing Comes Easy" and "More Than Friends", the band decided to go for a mellower and more acoustic approach towards their new track.  In Livin’ a Lie, OutBound have explored the genres of acoustic rock and folk in order to narrate a story on the exploration of the quiet suffering of individuals who decide to often hide behind their mask. The band also felt that the acoustic approach was needed in order to evoke a feeling of openness and vulnerability with the listeners and to get them to relate as much as they could with the song.  To add on to the feeling of stillness, loneliness and heartbreak - the band decided to go onto a creative project by directing a music video alongside Edward DeGabriele & Fabian Attard, where the storyline depicts the preparation for a burial. During this burial, the band buries their “secrets” and moves on to finish off the video  via  a ‘liberating’ band performance from the song’s climax until the end of the song. The entire shoot was done in B&W to depict a sorrowful & melancholic ambience and to make the viewers feel more in touch with the band members’ heartbreaking story.  This song was produced with Chris Gatt & Edward Abela (Midnight) and Mixed and Mastered with Edward Abela (Midnight). The song & music video will be released on all music streaming platforms and more content in relation to the music video can be found on their social media website. More information on the band and single can be found on  https://outbound.band . IG:  https://www.instagram.com/outboundmt

A story in three parts part iii 2022 passed But if I thought—or rather hoped—that a new calendar would stop the storm, I quickly learned, in the very first week of the new year, that the storm had yet to pass. The mobile rang early in the morning. One of those calls you figure out before the first word is even spoken. My mother, whom we had been losing bit by bit over many years, was now also gone physically forever. 2022 had passed, but its echos endured. The bitterness of 2022 gave me plenty to write about. But I don’t want to write sad music. Or at least, I don’t want to write only sad songs. The music that has always come naturally to me has never been very dramatic—it’s always been rather simple, somewhat raw, music that doesn’t take itself too seriously, more rhythmic than melodic. It’s true that 2022 changed me, but not that much. The guiding star was always the groove, the ultimate aim: to get the listener to boogie. And so, partly because time eventually started to pass and the skys began to open up a little, and partly because the music I was writing was more uplifting, I had to explore other themes and accept that full of bitterness as life may be, it is never only that. “Those were the days,” those drunk on nostalgia like to say. “These are days too” tends to be my retort. Don’t wait twenty years to get it. Maybe this is the recurring theme in this collection of songs: the passage of time, the inevitable challenges, and a philosophy about how one might try to navigate through them. Beyond that, the story can stop here. Music is written primarily to be played, not to be talked about and analysed. The first songs are out on my youtube channel https://www.youtube.com/@peklektru

A story in three parts part ii 2022 What a horrible year. It didn’t start out that way. Or at least, I didn’t recognise the first warning signs of the storm that was to come. I invested in some equipment so I could start playing and recording again. “Invested,” people say. And when you hear that phrase, you can be pretty confident that they are telling you they spent more money than they are comfortable admitting. Time had moved on. Things had changed. If in 2005 I could work on a portable studio with a CD-ROM, in 2022 you’d be lucky to find a CD drive on a brand new laptop. If this were a film, this would have been the perfect moment for a montage of me plugging in jacks, finding my bearings with the new gear, scratching my head trying to understand the intricacies of software functions, all to an upbeat song in the background, until the setbacks are overcome and I emerge ready to write a song that saves the universe — like something out of Bill and Ted . This was in April. I was happy. And even though when I went to buy the Telecaster I had laid my eyes on, I was told that someone else had bought it just two days prior, the shop assistant assured me they could get me another one. Now I was waiting for it to arrive. There were, however, far too many things I wasn’t expecting to arrive. This was 2022. In February, a friend from my youth had already tragically lost his life in a traffic accident. But May seemed to change gear. The guitar did arrive, yes. But on the very day I was meant to go pick it up, I received the heartbreaking news that my aunty Antoinette had died. A bolt out of the blue. There is little I can say to explain the significance of this loss. If you knew Antoinette, you may begin to understand. If you didn’t, I don’t think words can be enough to explain it. It was also in May that we received news of Ian’s diagnosis. A few weeks earlier I was telling him about the new guitar. You try to grasp onto some hope that we’ll look back on all this unscathed but reality doesn’t bend to anyone’s hopes. A few months later, etched into my mind forever, we had our last conversation. In May I also received a message from Michael—more sad news. Around that time, my ringtone became a little traumatic. Every time the phone rang, it felt like it was to herald in some brand new piece of awful news. It was as if, all of a sudden, people I knew—some from afar, others literally my whole life, and those in between, who had, over time, become family—started disappearing at an abnormal rate. The year went on like that. Back from a funeral, you hear about another diagnosis. Then Phyllis. Against this backdrop I had to also look into my mother’s eyes and do my utmost to see past her dementia, which by then had almost dismantled her completely. You know life is fragile and precious, and that you need to be present for the beautiful moments it offers —but in these circumstances everything seems to crystallise. You start seeing things a little bit more clearly. Maybe an existential or a midlife crisis. Maybe a bit of wisdom about what really matters in life. What’s certain is that the death of those close to you changes you. Death steals a relative or a friend, gnaws away at your heart, hollows you out, and sculpts you. It reshapes you, with a missing piece or two. It is with this new shape that you’re sent to face the rest of your days. It was with this shape that I had to carry on. And with a new guitar in hand. Maybe you remember from school Anton Buttigieg’s poem “Il-Kebbies tal-Fanali”  . I have the impression it was a popular poem among us students—probably because it’s short. Sometimes I take my copy of Il-Qawsalla  down from the shelves, flip through the pages and read it again. I doubt I ever truly remembered the exact words by heart. But I remember the sentiment. For Buttigieg, Poetry was a lifesaver. And in light of 2022, I can say the same about music. Note from the editor: The last part of the story shall feature tomorrow 6th February

A story in three parts The story begins in a basement in Ħaż-Żebbuġ. During a book sale in aid of Dar Bjorn . part i Strictly speaking—just to be precise—there’s a bit of a prologue to the story in the form of conversations with Zizza (from Brodu) about a musical project called Doom Karm . Zizza knew that I wasn’t really playing anymore, but he kept insisting that he wanted to involve me. I never ruled out the idea that one day I might pick up the guitar again and start writing something fresh, but it wasn’t a priority. I had discovered other interests and was exploring them. The plan—if you can call it that—was vague. I don’t know, maybe when the kids grow up a bit, with enormous emphasis on the word maybe . Maybe. Who knows? One day. The space at home that I had once dedicated to music had by then become a storage area for pushchairs, playpens, bouncers, crawlers, and other bulky equipment synonymous with raising young children. Anyway, back to Ħaż-Żebbuġ. While going through the books, I found a pile of copies of One Train Later , Andy Summers’ autobiography—the guitarist from The Police. Two euros. A bargain. A book at two euros is almost always a good deal. It looked like stock that had taken a bit of a hit from damp conditions. More likely, though, this pile of books had suffered a severe lack of consumer interest. As a result, it was taking up too much space in the storeroom of some bookshop. A bookshop that employed someone who apparently thought all of Malta was obsessed with The Police. Anyway, yada yada yada, a consignment of One Train Later  ended up at Dar Bjorn. They were in pretty good condition for the price. Into the basket they went, then at home onto the shelf. Maybe I’ll read it one day. There it is again— maybe  and one day . I like The Police. Especially the first two albums, with a particular soft spot for “Walking on the Moon” and “The Bed Is Too Big Without You.” But they’re in no way my favourite band. There were no urgent plans to push this book ahead of the queue of books waiting their turn to be read. I knew this was going straight onto the shelf. Eventually I might read it. But you know, you don’t want to be rude to a person—let alone to a book. Before putting it away, I opened it a bit and gave it a quick glance, just to get an idea. I happened to stop on a page where Summers starts talking about the end of a relationship while trying to decide what food to order. He jumps from food to the relationship and back again. The writing intrigued me. It was written well enough for the book to be spared a life sentence on the shelf. And I ended up reading it. What struck me, as I read, was the way Summers talks about his guitar, a bit overly sentimental perhaps, but his praise for his beloved Telecaster was enough to remind me of this long-dormant desire I had for many years: to acquire a Telecaster myself. I’d been saying “one day” to that too. And you know what?  Suddenly the conversations with Zizza about Doom Karm , Martin asking me on Messenger whether I was still playing at all, Andy Summers’ book, and the rediscovered craving to get a Tele started to orbit one another in a frenetic dance that seemed to reignite my will. One thing led to another, and fifteen years after the album Reclaiming Space , I was about to start playing music again. This was in the early months of 2022—the worst year of my life. The year had already begun hinting at what lay ahead, but I, occupied as I was looking at online photos of guitars, still had no idea… Note from the editor: Part 2 of the story shall feature tomorrow 5th February

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