A Good Night Out: Reimagining the Night-Time Economy in Malta The Culture Directorate is organising “A Good Night Out: Reimagining the Night-Time Economy in Malta”, an event forming part of the Malta Festival of Ideas, taking place on 11 September at Hide Out, Pembroke, from 5pm onwards. The event will bring together cultural practitioners, artists, industry stakeholders and members of the public to explore Malta’s night-time economy, its development and its potential future. Malta boasts a prolific night-time economy, closely linked to tourism, the arts and the creative industries. Extending beyond traditional nightlife, the night-time economy encompasses business and cultural spaces operating between approximately 6pm and 4am, including bars, restaurants, concert venues, theatres, clubs, outdoor areas and other public spaces transformed for night-time activities. While Malta’s contemporary nightlife became particularly visible during the late 1980s and early 1990s, with Paceville emerging as the island’s main entertainment hub, the night-time economy has since expanded beyond St Julian’s. Today, it continues to evolve alongside Malta’s creative industries, cultural communities and audiences. With a vision of reimagining Malta’s night-time economy by 2030, the event will provide an opportunity to assess the current landscape while exploring how it can develop into a more sustainable, inclusive and responsive social and cultural space. Discussions will address a range of important questions: How can good practices and protocols respond to the changing nature of Malta’s night-time economy? How can the rights of artists and creative practitioners be better represented and safeguarded? And what role do audiences and consumers play in sustaining the scenes and subcultures they are part of? Adding an international perspective to the discussion, the event will welcome Bryony, Sarj and Felipe from the UK, who will contribute their experience and expertise while helping participants develop a set of recommendations for the future. Bryony and Sarj are part of the Good Night Out Campaign, a UK initiative working towards safer and more inclusive nightlife environments. The event is being organised in collaboration with Oracles Productions, Tuff Drinks, Arts Council Malta and Hide-Out, as part of the wider Malta Festival of Ideas programme. A Good Night Out: Reimagining the Night-Time Economy in MaltaDate: 11 SeptemberTime: 5pm onwardsVenue: Hide Out, PembrokePart of: Malta Festival of Ideas Event information: Malta Festival of Ideas – Instagram Good Night Out Campaign: Good Night Out Campaign The event invites those working in, participating in or simply interested in Malta’s night-time culture to join the conversation and contribute towards imagining what a vibrant, inclusive and sustainable night-time economy could look like by 2030.

Following the overwhelming response to its inaugural edition in 2025, the Malta Metal Weekend returns in 2026 for three days of metal at the Eden Arena in St. Julian’s. Taking place from 13 to 15 November 2026, the second edition expands the concept into a thirteen-band celebration encompassing extreme, classic and melodic metal, with a bill that brings together some of the most respected names in international heavy music alongside some of the finest talent from Malta. Among the bands appearing on the opening Friday, 13 November, are two acts particularly relevant to followers of melodic death metal: Malta's own Angelcrypt and Finland's Omnium Gatherum. They represent two different generations and approaches to the genre, yet share an appreciation for melody, atmosphere and powerful guitar work. They will appear on a bill that also includes Kreator and Paradise Lost, making Friday's programme an especially formidable opening to the festival. Angelcrypt — Malta's Own Melodic Warriors Angelcrypt video shoot for “Where Skies Rained Iron” 2025 For Maltese metal followers, Angelcrypt's inclusion carries an obvious significance. Formed in 1997, the band has spent almost three decades developing its identity within Malta's metal scene, evolving from its early death/thrash influences into a melodic death metal outfit with a sound that combines aggressive riffing, memorable guitar melodies and a distinctly dark atmosphere. The band's history is one of perseverance. Maintaining a metal band in Malta has never been without its challenges, particularly for a group committed to an extreme style, and Angelcrypt's longevity is therefore an achievement in itself. Over the years the band has established itself as one of the island's better-known metal exports, eventually taking its music beyond Malta and attracting attention from international metal media. One of the defining characteristics of Angelcrypt is its fascination with World War I & II. Rather than using warfare merely as a generic metal theme, the band has developed a particular interest in the human stories, battles, sacrifice and tragedy associated with the Wars. This thematic identity is particularly evident on the band's second full-length album, Dawn of the Emperor, released in 2020 through Boersma Records. International reviewers have generally responded positively to the album. A review in The Metal Archives awarded Dawn of the Emperor 89%, describing Angelcrypt's approach as a solid and traditional interpretation of melodic death metal. The reviewer noted the influence of the classic Gothenburg school, while also detecting a darker, occasionally blackened edge in the band's tremolo picking and atmospheric melodies. Particularly praised were the songwriting, guitar solos, changes of rhythm and tempo, and the band's ability to make individual songs memorable without reducing them to simplistic structures. The album also attracted attention from American publication Angry Metal Guy, which observed that Angelcrypt's sound recalls Amok-era Sentenced, while incorporating elements associated with Amon Amarth and Bolt Thrower. The review praised the band's catchy writing, substantial riffs and atmospheric qualities, while noting that the results could be somewhat inconsistent. Even so, the publication recognised the band's ability to produce engaging and punchy material and considered the album a worthwhile introduction to Malta's melodic death metal scene. That combination is perhaps what makes Angelcrypt particularly appropriate for Malta Metal Weekend. They are unmistakably a product of Malta's own metal history, but their music is constructed within a language that can stand comfortably alongside the international acts sharing the Eden Arena stage. Their appearance is consequently more than simply a local band slot: it represents an opportunity for the home audience to see a Maltese band occupying the same festival stage as some of the biggest names in European metal. And then there is the other side of Friday's melodic death metal equation. Omnium Gatherum — Finnish Melodeath at Its Most Atmospheric Omnium Gatherum live at Summer Breeze Open Air 2025. Photo by Richard Mastny Although sometimes incorrectly identified as a Swedish band, Omnium Gatherum are Finnish, originating from Karhula and formed in 1996. Founded by guitarist Markus Vanhala, the band has grown into one of Finland's most respected melodic death metal exports. Where Angelcrypt draw heavily upon traditional melodic death metal and their own fascination with military history, Omnium Gatherum have developed a considerably more expansive and atmospheric interpretation of the genre. Their music combines aggressive death metal vocals with highly melodic guitars, keyboards, progressive structures and a strong sense of melancholy and atmosphere. The band's discography demonstrates a gradual evolution rather than a series of dramatic stylistic changes. Following their early releases, albums such as Stuck Here on Snakes Way, The Redshift, New World Shadows and Beyond established the musical identity for which Omnium Gatherum became particularly renowned. Of these, 2011's New World Shadows is frequently regarded as one of the band's defining achievements. Reviews have highlighted its progressive tendencies, lengthy compositions and exceptional melodic guitar work. One Metal Archives review awarded the album 95%, describing it as an atmospheric and progressive development of the band's established sound and comparing its approach favourably with Finnish acts such as Insomnium, while also identifying elements reminiscent of Dark Tranquillity and the classic In Flames era. Another detailed review emphasised the album's combination of progressive structures and atmospheric melodic death metal, particularly praising songs such as "Everfields", "New World Shadows" and "Deep Cold". The keyboards provide a persistent layer of mood without overwhelming the guitars, while vocalist Jukka Pelkonen's deep growls create a striking contrast with the often uplifting melodies. The band's 2013 album Beyond continued that direction. Critical opinion was somewhat more divided, but even less enthusiastic reviews acknowledged the strength of Omnium Gatherum's guitar melodies and atmospheric qualities. A more favourable Metal Archives review awarded the album 80%, describing it as a more structured and coherent development of New World Shadows, with songs such as "The White Palace" demonstrating the band's ability to build lengthy compositions around melody and tension. The album also received an 85% review which praised its melancholic atmosphere, sharp riffs and "gorgeous melodies", while describing the guitarists as central to the band's appeal. The band's evolution continued through Grey Heavens and The Burning Cold, eventually leading to 2021's Origin. The latter was welcomed by reviewers who felt that it restored some of the spaciousness and atmosphere associated with the band's most acclaimed period. Metal Storm gave particular attention to the album's balance between melody and aggression, noting that Origin was less overtly aggressive than some of its predecessors and instead placed greater emphasis on atmosphere, keyboards and expansive guitar work. The review awarded it 8/10 for both performance and songwriting, while giving 6/10 for originality and 8/10 for production. This emphasis on melody and atmosphere makes Omnium Gatherum an intriguing counterpart to Angelcrypt. Both bands occupy the broad melodic death metal spectrum, but their musical personalities are quite different. Angelcrypt's music is rooted in muscular riffing, traditional melodic death metal and historical storytelling, whereas Omnium Gatherum frequently allow their compositions to breathe, building songs around melancholic guitar harmonies, keyboards and progressive passages. Two Approaches, One Stage Putting Angelcrypt and Omnium Gatherum together is therefore an inspired pairing for the opening day of Malta Metal Weekend. Both bands demonstrate how broad the melodic death metal umbrella can be. Angelcrypt bring almost thirty years of Maltese metal history, a distinctive World Wars -inspired lyrical identity and a direct, riff-driven approach. Omnium Gatherum bring three decades of Finnish experience, an extensive catalogue and a more atmospheric and progressive interpretation of melodic death metal. For the Maltese audience, Angelcrypt's appearance also provides an opportunity to see one of the island's established metal bands standing shoulder-to-shoulder with an internationally recognised Finnish act. For visitors travelling to Malta for the festival, meanwhile, Angelcrypt offers a chance to discover a significant part of the island's own extreme-metal heritage. And these two bands are only the beginning. With Kreator and Paradise Lost completing Friday's bill, followed by Doro, Dirkschneider, Candlemass and Anvil on Saturday and Europe, Adrian Vandenberg and Ronnie Romero & Gus G. on Sunday, Malta Metal Weekend 2026 has clearly expanded its ambitions beyond the inaugural event. For three days, the Eden Arena will become the centre of Malta's metal universe — and on the opening day, the journey begins with two very different but equally compelling representatives of melodic death metal: Malta's Angelcrypt and Finland's Omnium Gatherum. Malta Metal Weekend 2026 13–15 November 2026Eden Arena, St. Julian's, Malta Tickets are available as individual one-day tickets or as a three-day block ticket, allowing fans either to attend a particular day's programme or experience the entire weekend. Tickets: Malta Metal Weekend 2026 — Official Tickets This is the first article in a series introducing the bands appearing at Malta Metal Weekend 2026.

Since the release of their self-titled debut album in 2021, Scarlet Pimpernel has established a distinctive identity rooted in the dark, vintage and hard rock of the late 1960s and early 1970s. Drawing on the spirit of classic blues rock and hard rock, the Maltese duo combines atmospheric songwriting with timeless vocal melodies to create music that explores a broad spectrum of emotions and stories. Now, Jessica Grech and Chris Grech return with the first single ‘Living Off the Grid’ from their forthcoming second album, marking the beginning of an exciting new chapter on the 10th September 2026. ‘Living off the grid’ is a powerful tribute to generations whose lives are shaped by the land and the relentless rhythm of the seasons. Through heavy, groove-driven riffs and evocative storytelling, the song captures the daily struggle of those who labour from dawn to dusk, enduring scorching sun and relentless rain, knowing that their survival depends on a successful harvest. In one of its most poignant moments, the music gives way to a sparse, almost gospel-like passage, where a solitary heartbeat-like kick drum and Jessica Grech's haunting chant become a heartfelt prayer for rain, a reminder that for those who live off the land, hope and resilience are often all that stands between hardship and survival. Track Details: Title: Living Off the Grid Artist: Scarlet Pimpernel Release Date: 10 September 2026 Band Line-up: Jessica Grech – Lead vocals Chris Grech – Guitars, Bass, Drums and additional instruments Credits: Lyrics by: Jessica Grech Music by: Chris Grech and Jessica Grech Recorded, Mixed and Mastered by: Chris Grech Produced by: Chris Grech Recorded at: Mellieha, Malta Artwork by: Jessica Grech Release Information: Format: Digital download & streaming Available on: Bandcamp, Spotify, Apple Music, YouTube Music and other major digital platforms. Official Links: Website: www.scarletpimpernel.com.mt Email: scarletpimpernelband@gmail.com Bandcamp: https://scarletpimpernelband.bandcamp.com/ Spotify: https://open.spotify.com/artist/24G1rig2QIDly8pXDp5RQi Instagram: https://www.instagram.com/scarletpimpernelband/ YouTube: https://www.youtube.com/channel/UCtn59Y90yByCS_6qqOVqSlw

Repugnance, Geistmaschine and DALAM bring three distinctly different forms of musical chaos to The Garage on Friday, 25 September. From primitive man staring into the unknown to humanity drifting through the cosmos, 2001: A Space Odyssey managed to cover a few million years of evolution in just over two hours. On Friday, 25 September, The Garage will attempt something slightly louder. Repugnance, Geistmaschine and DALAM come from three different corners of Malta's underground music scene — death metal, cosmic post-metal and noise rock/hardcore — but share one important trait: none seem particularly interested in keeping things comfortable or predictable. Three different genres. Three different interpretations of chaos. One night. Repugnance have been delivering their particular strain of Maltese death metal for well over a decade, combining the genre's more primitive instincts with a deliberate focus on structure and clarity. Their 2014 EP Seeds of Oppression was followed by the full-length Shrouds of Deceit in 2019, an eight-track exercise in controlled aggression that helped take the band beyond Malta for numerous shows across Europe. Now, with new material taking shape for a planned 2027 release, the band returns to The Garage with the next phase already beginning to emerge. Repugnance Things become considerably more cosmic with Geistmaschine. The three-piece build their music around post-metal, experimental music, drone, ambient textures, noise and samples, creating something closer to a journey than a conventional collection of songs. Their influences are equally difficult to contain, stretching from Godflesh, Swans and Mogwai to Blood Incantation, Full of Hell and The Alan Parsons Project. Geistmaschine Science fiction, art, comics and space are part of the band's DNA, and that cinematic mentality feeds directly into their sound. Their forthcoming debut was recorded live at Malta's SpineSplitter Studio in an effort to capture the dynamics and chemistry of the band rather than assemble something artificially piece by piece. September's appearance will also be Geistmaschine's only live show of 2026. Dalam Then there's DALAM. If you've encountered them before, explanations probably aren't going to help much. The noise rock/hardcore outfit have built their identity around abrasive music, sardonic humour and taking recognisably Maltese situations to increasingly absurd conclusions. Their 2023 EP HEADLINES produced tracks with titles such as Garden Gnome, Barbershop Orchestra and L-Assedju Kemxejn Medjokri Ta' Malta — which gives some indication of the territory involved. On 25 September, they return in a new incarnation: DALAM 3.0. What exactly has changed? Enough to justify the version number, apparently. What remains is the same noise rock/hardcore core, now with a new voice but the same commitment to absurdism, abrasion and filthy sounds. And that is ultimately what brings this line-up together. Not a genre. Not a scene neatly packaged into three similar bands. Instead, three acts taking radically different routes towards the same destination: music that is heavy, strange, confrontational and occasionally just a little unhinged. From Neanderthals to the cosmos, evolution has taken some questionable turns. This might be one of the better ones. Expect chaos. Expect something different. A CHAODYSSEY - REPUGNANCE / GEISTMASCHINE / DALAM Friday, 25 September 2026 — 8:30 PM The Garage, Żebbuġ

SCJ Choir School: Inspiring Young Voices to Learn, Grow and Shine As the summer season continues, preparations are already underway at Schola Cantorum Jubilate (SCJ) for the coming winter season—and with them comes an exciting opportunity for children and young people to discover the joy and rewards of choral singing. The SCJ Choir School provides a supportive and inspiring environment where young singers can develop their musical abilities, gain performance experience and build valuable skills that extend well beyond music. For children who are passionate about singing, eager to learn new music or excited by the opportunity to perform, joining a choir can be a truly enriching experience. Through quality choral education, choristers are encouraged to develop their voices while also strengthening their confidence, concentration, discipline and ability to work as part of a team. Director Marouska Attard says that the benefits of choral singing extend far beyond vocal development. Through regular rehearsals and performances, young singers have the opportunity to improve their musical skills, concentration and memory, while developing communication skills, self-discipline and confidence. Just as importantly, they become part of a community where friendships are formed and achievements are shared. At SCJ, there is a strong belief that singing together offers children and youths a unique opportunity to learn, collaborate and grow. Working towards a shared musical goal encourages responsibility, perseverance and teamwork, while creating a strong sense of belonging and achievement. The SCJ Choir School welcomes children aged 6 to 11 to its Children's Choir and young people aged 12 to 18 to its Youth Choir. Sessions are held in Xagħra, Gozo every Saturday. Applications are currently open for auditions taking place this September. Parents and guardians are invited to give their children the opportunity to discover their voice, develop their musical potential, make new friends and experience the rewards of singing together. Applications can be submitted at:forms.gle/PCBnetZatca6AF3A6 Whether your child is already an enthusiastic singer or simply curious to discover the world of choral music, the SCJ Choir School offers an opportunity to learn, grow and shine as part of a vibrant musical community. For further details contact the choir admin on info@scjchoir.com or call on +35679450950.

Part 3 – A legacy carved in stone: the enduring power of Forsaken Pentateuch: a testament to endurance After nearly three decades of existence, many bands would have been content to simply celebrate their past achievements. Forsaken, however, have always been driven by creativity rather than nostalgia. Their 2020 album Pentateuch demonstrated that the band still possessed the ambition and artistic vision that had defined them since their earliest days. The title itself offered a clear indication of the album’s conceptual direction. Drawing inspiration from ancient religious texts and themes that have fascinated humanity for centuries, Pentateuch continued Forsaken’s exploration of mythology, spirituality, morality and the eternal struggle between light and darkness. The album was another example of the band’s ability to create music that feels timeless. While the modern metal landscape has changed dramatically since their formation, Forsaken’s approach has remained consistent: powerful riffs, memorable melodies, dramatic structures and lyrics that encourage reflection. Rather than chasing modern production trends or attempting to fit into contemporary movements, Forsaken continued to create music on their own terms. This artistic independence has always been one of their greatest strengths. The musicianship displayed throughout Pentateuch confirmed the exceptional chemistry that had developed between the members. Leo Stivala’s commanding vocals continued to provide the emotional centre of the music, delivering performances filled with both power and expression. Albert Bell’s bass work and songwriting remained fundamental to the band’s identity, while guitarist Sean Vukovic and drummer Simeon Gatt contributed the precision and intensity required to bring the compositions to life. The album represented not only another chapter in Forsaken’s catalogue but also a reminder of why the band had survived for so long. Their music was never dependent on fashion or trends; it was built on conviction. The musicians behind the legend While Forsaken’s history is often discussed through their albums, the story of the band is equally a story about the musicians who have carried its vision across three and a half decades. live at Notte Bianca 2015 (photo: Amanda Calleja) Bassist and songwriter Albert Bell has been one of the central figures in Forsaken’s development. His contribution extends far beyond his instrumental role, with his songwriting and lyrical concepts becoming a defining element of the band’s identity. Bell’s fascination with history, philosophy and spirituality has given Forsaken’s music an unusual depth. Many metal bands explore darkness, but Forsaken have always approached darkness from a broader perspective, examining the reasons behind human suffering and the search for meaning. His bass playing has also been a crucial part of the band’s sound. Rather than simply providing a rhythmic foundation, Bell’s bass lines often interact with the guitars, adding melody and movement to the compositions. Vocalist Leo Stivala has likewise become inseparable from the Forsaken sound. His powerful and expressive voice has given the band many of its most memorable moments. Epic doom requires a vocalist capable of delivering both strength and emotion, and Stivala’s performances have consistently provided that balance. His ability to move between dramatic intensity and melodic sensitivity has allowed Forsaken’s songs to achieve their full impact. Guitarist Sean Vukovic, widely regarded as one of Malta’s finest guitar talents, together with drummer Simeon Gatt, have played pivotal roles in shaping and preserving Forsaken’s musical identity. Their combined contributions have helped maintain the delicate balance between crushing heaviness, melodic depth and atmospheric grandeur that has become a defining characteristic of the band’s sound. Together, this line-up represents one of the longest-standing and most recognisable formations in Maltese metal history. The Forsaken sound: more than doom metal To describe Forsaken simply as a doom metal band would be accurate but incomplete. Their music belongs firmly within the epic doom tradition, yet their influences and ambitions extend much further. Throughout their career, they have incorporated elements of traditional heavy metal, progressive music, classical arrangements and even the atmosphere of historical and cinematic music. 2017 Pentateuch photo shoot (photo: Michael Sammut at Adonis Creations) The band’s strongest influences include pioneers such as Black Sabbath and Candlemass, but Forsaken have always added their own personality to the formula. Their Maltese heritage, Mediterranean perspective and intellectual approach to songwriting have helped create something distinctive. Epic doom metal is often characterised by grandeur and Forsaken embody that quality completely. Their songs frequently feel like journeys through forgotten kingdoms, ancient civilisations and philosophical landscapes. The atmosphere created by their music is one of the reasons they have earned such respect internationally. Their albums reward repeated listening because there are always new details to discover: a subtle bass movement, a carefully constructed guitar harmony, a lyrical reference or an emotional shift within a song. This attention to detail has allowed Forsaken’s catalogue to age remarkably well. Forsaken and the Maltese metal scene The importance of Forsaken within Maltese music cannot be measured solely through album sales or festival appearances. Their greatest achievement has been proving that musicians from Malta can create work of international significance. When the band began in the early 1990s, Malta was not considered a major destination within the global metal community. The island had passionate musicians and dedicated fans, but international recognition was limited. Forsaken changed that perception. Their success showed that talent could emerge from anywhere and that commitment could overcome geographical limitations. They became ambassadors for Maltese heavy metal, opening doors for future generations of bands. Many Maltese musicians who followed were inspired by Forsaken’s example. The band demonstrated that underground music could achieve international respect without compromising artistic integrity. Alongside other important Maltese acts, Forsaken helped establish the island as a place capable of producing world-class metal musicians. Their influence can be seen in the continued growth of Malta’s metal scene, from doom and traditional heavy metal to death metal, black metal and progressive styles. Thirty-five years of international respect By 2026, Forsaken’s achievements are remarkable. Few bands maintain relevance for thirty-five years. Even fewer manage to preserve their identity while continuing to receive international respect. Forsaken have achieved this through consistency, dedication and a refusal to compromise. backstage 2023 (photo: Forsaken) Their discography represents a journey rather than a collection of isolated releases. Each album forms part of a larger story, documenting the evolution of a band that has always viewed music as an artistic expression rather than a product. From Requiem to Virtues of Sanctity, from Evermore to Anima Mundi, from Dominaeon to Pentateuch, Forsaken have created a body of work that stands proudly within the history of epic doom metal. Their music has reached listeners across continents, proving that a band from a small Mediterranean island could stand alongside the most respected names in the genre. The international doom community has embraced Forsaken not because of where they come from, but because of the quality and sincerity of their music. The meaning of legacy A thirty-five-year anniversary is not merely a celebration of longevity. It is an opportunity to reflect on influence, achievement and endurance. Forsaken’s legacy is built upon several remarkable accomplishments. They are pioneers of Maltese heavy metal. They are one of the few bands from the island to achieve sustained international recognition. They are respected contributors to the epic doom genre. They have inspired musicians and fans around the world. But perhaps their greatest achievement is that, after thirty-five years, they still sound like Forsaken. In a music industry where trends change quickly and many artists constantly reinvent themselves in search of attention, Forsaken have followed a different path. They have remained committed to the music that inspired them while allowing their songwriting to naturally evolve. Their career proves that authenticity has lasting value. Looking towards the future As Forsaken celebrate their 35th anniversary in 2026, their story remains unfinished. The band’s journey from a small Maltese rehearsal space to international doom metal stages is already extraordinary, but their continued creativity suggests that there are still chapters waiting to be written. Their influence extends beyond their recordings. They represent perseverance, artistic independence and the belief that passion can overcome limitations. For thirty-five years, Forsaken have carried the flame of epic doom metal with pride. They have transformed personal experiences, historical reflections and philosophical questions into music that resonates with listeners around the world. From Malta to the global metal community, their name has become synonymous with dedication and excellence. Thirty-five years after their formation, Forsaken remain not only survivors of the underground metal world but one of its most respected ambassadors. Their story is the story of a band that refused to be forgotten. A band that turned isolation into inspiration. A band that proved that even from a small island in the Mediterranean, monumental music can be created. Thirty-five years on, Forsaken still reign among the masters of epic doom.

Maltese music has enjoyed a remarkable international success at the 2026 InterContinental Music Awards in Los Angeles, with four Maltese artists taking top honours across four different categories. Chellcy Reitsma, Lyndsay Pace, Garison Bonnici and Benji Cachia were all recognised by the international competition, highlighting the diversity of talent emerging from Malta and its ability to make an impact well beyond the local music scene. The four artists were recognised in distinctly different musical fields, ranging from European rock and Europop to instrumental music and alternative music, making the achievement particularly noteworthy. The InterContinental Music Awards (ICMA) is a Los Angeles-founded international music recognition platform which honours musicians according to their cultural and continental origins. It aims to provide independent and professional musicians, singers and composers with international exposure and recognition, while connecting artists with audiences and music communities from around the world. Chellcy Reitsma wins Best of European Rock Among the Maltese successes was Chellcy Reitsma, who was named the winner of the Best of European Rock category for her song “Chemicals.” The award was announced on Sunday, 23 August 2026, in Los Angeles, California. Reitsma, a Maltese and Dutch-American singer-songwriter and Grammy Voting Member, wrote “Chemicals” herself, while the music was composed by Maltese musician and composer Alan Degabriele. The track was produced and published by The Animal Farm Music in London and mastered by Levi Owen at Hafod Mastering in Wales, giving the song an international production team to complement its Maltese creative roots. The ICMA award adds to an already highly successful year for Reitsma. Earlier in 2026, she won six awards at the European International Music Awards. She was also nominated at the World Entertainment Awards in Hollywood for Best Alternative Rock Song for “Dark Times”, attending the awards' red-carpet event. During the same weekend, she attended the Grammys as a first-time voting member. Watch the lyric video for “Chemicals” Watch Chellcy Reitsma perform “Chemicals” live Lyndsay Pace takes Best Europop Song Lyndsay Pace also emerged as a winner, taking the Best Europop Song award for her song “Fireproof.” For Pace, the recognition represents an important milestone in her musical career, acknowledging her songwriting and artistry while providing further international exposure for her music. “I am incredibly honoured to receive this award for ‘Fireproof’,” says Pace. “It means so much to have my music recognised on an international level. I’m truly grateful to everyone who has supported me and believed in my journey.” The award comes as Pace continues to build momentum in her career and introduce her music to new audiences, with the international recognition providing further encouragement as she pursues opportunities beyond Malta. Garison Bonnici – Best Instrumentalist The awards also recognised the talent of Maltese trumpet player Garison Bonnici, who won the Best Instrumentalist category with his original composition “Grandpa.” Unlike a conventional award entry, “Grandpa” carries a deeply personal story. The piece was written as a tribute to Garison's late grandfather and reflects the memories, love and emotional connection between the two. Garison's grandfather played a particularly important role in his musical journey. In 2010, he bought Garison his first trumpet, an instrument which would subsequently become central to his development as a musician. As a result, “Grandpa” represents more than an instrumental composition. Through the trumpet, Bonnici transforms personal memories and gratitude into music, creating a tribute to the person who helped set his musical journey in motion. The composition was initially listed among the finalists for Best Instrumentalist before ultimately being announced as the category's winner. The international recognition therefore gives Bonnici the opportunity to share an intensely personal piece with an audience far beyond Malta while honouring the memory of his grandfather. Benji Cachia – European Alternative Completing the quartet of Maltese winners is musician and percussionist Benji Cachia, better known as Banjo Rancho, whose “10 Beats Later” won the European Alternative section at the 2026 InterContinental Awards in Los Angeles. Cachia has been active as a professional musician for more than two decades, having spent years studying, practising and performing. During his career he has shared stages and worked alongside a diverse range of international artists, including Pete Lockett, John Butler, Plini, Fernando Hernandez, the original drummer of Queens of the Stone Age, Guthrie Govan, Dry the River and Delta Sleep. Beyond performing, Cachia is also passionate about education. As a percussion and music teacher, he offers both individual and group classes catering for students of different ages and levels. His ICMA recognition for “10 Beats Later” adds another international achievement to a career which has combined performance, collaboration and music education. Four winners, four different musical directions The success of Reitsma, Pace, Bonnici and Cachia is significant not simply because four Maltese artists won at the same international awards, but because each did so in a different musical category. From Reitsma's European rock to Pace's Europop, Bonnici's trumpet-led instrumental composition and Cachia's alternative work, the four awards illustrate the breadth of music being created by Maltese artists. Their achievements also underline the increasingly international nature of Malta's music community. While each artist has followed a different musical path, their recognition in Los Angeles places all four within the same global platform and demonstrates that Maltese talent can compete across a wide range of genres. For a relatively small island with an increasingly active music scene, four wins at an international competition of this nature provide plenty of reason for celebration — and another reminder that Maltese music continues to find new ways of reaching audiences well beyond the shores of Malta. View the complete 2026 InterContinental Music Awards winners list Congratulations to Chellcy Reitsma, Lyndsay Pace, Garison Bonnici and Benji Cachia on their outstanding achievements at the 2026 InterContinental Music Awards — four well-deserved international honours that proudly showcase the depth and diversity of Maltese musical talent.

30 Years of Maltese Metal! Next year will be a very special year for us as we celebrate 30 years of Angelcrypt. It’s hard to believe that what started in 1997 with a bunch of kids sharing a passion for metal has somehow grown into a journey spanning three decades. Through all the ups and downs, changes, challenges and unforgettable moments, we’re incredibly grateful that we’re still here, still making music and still able to step on stage and share it with you. We’re currently putting together a 30th Anniversary Tour, with some great shows already confirmed and more in the works. We’re also preparing a special setlist that we guarantee will break your neck! If you’d like Angelcrypt to be part of your event in 2027, we’d love to hear from you. We’re looking to add some special shows to the anniversary celebration. Contact us at shawnmizzi@gmail.com and let’s see what we can do together! And there’s more… Our contribution to the Forsaken Legacy Tribute, our cover of “Via Crucis,” is finished and has been submitted for the compilation. We’re also working on a brand-new physical EP, which we’re hoping to release especially for our 30th anniversary. And yes… there’s one very special surprise planned for next year. We can’t say much about it just yet, but we’re really looking forward to sharing it with you. After 30 years, we have so much to be thankful for, to everyone who has supported us, stood in front of our stages, bought our music, shared our songs, booked our shows, helped us along the way and simply believed in Angelcrypt: thank you! Metal Forever! Shawn Founder/Guitars/Vocals

PECCATORUM IV BRINGS FOUR INTERNATIONAL EXTREME-METAL FORCES TO MALTA FOR THEIR FIRST-EVER ISLAND PERFORMANCES NIGHTFALL, ASAGRAUM, KAWIR and EMPTINESS unite at The Garage on Saturday, 5 September 2026 Malta Metal Alliance will present one of the most significant underground metal gatherings of the year when PECCATORUM IV takes over The Garage Music Club in Ħaż-Żebbuġ on Saturday, 5 September 2026. Headlined by Greek extreme-metal pioneers NIGHTFALL, the fourth edition of PECCATORUM will also feature the first Maltese performances by Dutch black-metal force ASAGRAUM, Greek pagan black-metal veterans KAWIR and Belgian avant-garde extremists EMPTINESS. All four bands will be performing live in Malta for the very first time. Built around a carefully selected international line-up, PECCATORUM IV is conceived as more than a conventional concert. It is an immersive gathering where extreme music, atmosphere and ritualistic intensity converge beneath one roof. The event brings together four distinct interpretations of darkness—from blackened death metal and traditional black metal to ancient Hellenic mythology and uncompromising avant-garde experimentation. Together, the bands represent more than three decades of international underground history while demonstrating the continuing evolution of extreme music. • NIGHTFALL — Greece photo: Nightfall (Facebook) Formed in Athens in 1991, NIGHTFALL stand alongside Rotting Christ and Septicflesh as one of the pioneering forces responsible for establishing Greek extreme metal internationally. Led by founding vocalist Efthimis Karadimas, the band forged a distinctive identity by combining blackened death metal with gothic melodies, dramatic atmosphere and a powerful Mediterranean character. Their extensive career includes landmark releases such as Parade into Centuries, Macabre Sunsets, Athenian Echoes, I Am Jesus and At Night We Prey. In 2025, NIGHTFALL released their eleventh studio album, Children of Eve, through Season of Mist. The record presents one of the darkest, heaviest and most direct statements of their career while confronting themes of religious oppression, isolation and mental health. Their headline appearance at PECCATORUM IV will mark NIGHTFALL’s long-awaited first performance in Malta. • ASAGRAUM — The Netherlands photo: Asagraum (Facebook) Founded in 2015 by vocalist and guitarist Obscura, ASAGRAUM emerged with a clear purpose: to create uncompromising Satanic black metal rooted in the spirit of the genre’s 1990s foundations while incorporating darker psychedelic elements. Their debut album, Potestas Magicum Diaboli, immediately established the band within the international underground. It was followed by Dawn of Infinite Fire and the critically recognised Veil of Death, Ruptured, expanding their reputation through relentless recordings and extensive performances across Europe and beyond. Driven by cold melodies, violent momentum and an unmistakably ritualistic presence, ASAGRAUM have become one of the most formidable names to emerge from the modern European black-metal movement. PECCATORUM IV will welcome the band to Malta for the first time. • KAWIR — Greece photo: Kawir (Facebook) For more than three decades, KAWIR have explored the mythology, literature, deities and ancient mysteries of Greece through their own unmistakable form of pagan black metal. Formed during the formative years of the Greek black-metal movement, KAWIR developed a sound built upon aggressive riffing, ceremonial atmosphere and a profound connection to the spiritual and historical traditions of ancient Hellas. Their extensive body of work has earned them cult status throughout the international underground. Their most recent full length album, Kydoimos, was released through Soulseller Records in 2024 and draws heavily upon the Iliad and the chaos, violence and glory of ancient warfare. KAWIR’s performance at PECCATORUM IV will bring their Hellenic ritual to Maltese soil for the first time. • EMPTINESS — Belgium photo: Tomy Devogelaere Founded in Brussels in 1998, EMPTINESS have spent more than two decades refusing to accept the conventional boundaries of extreme music. Their work has moved through black metal, death metal, avant-garde experimentation, unsettling ambience and claustrophobic minimalism, creating an identity that remains difficult to categorise and impossible to mistake. The band released its seventh studio album, Nowhere Speaks, through Season of Mist on 17 July 2026. Recorded almost entirely live in the studio after four years of preparation, the album marks a return to crushing weight and full-band physical intensity while retaining the conceptual depth that has defined the band’s career. Their appearance at PECCATORUM IV comes less than two months after the album’s release and will mark EMPTINESS’ first live performance in Malta. “PECCATORUM was created to present extreme music as a complete experience—not simply a collection of bands sharing a stage,” said organiser Nick Grima. “Bringing NIGHTFALL, ASAGRAUM, KAWIR and EMPTINESS to Malta for the first time, together on one night, represents exactly what this event stands for: ambition, atmosphere and total commitment to the international underground.” Now entering its fourth edition, PECCATORUM continues to strengthen Malta’s position on the European underground map by presenting internationally established artists in a focused and intimate live setting. On 5 September, The Garage will be transformed into a sanctum of distortion, atmosphere and collective intensity—an assembly of the faithful united by volume, vision and the shared force of live extreme music. • EVENT INFORMATION Event: PECCATORUM IV Date: Saturday, 5 September 2026 Time: 20:00 Venue: The Garage Music Club, Triq l-Imdina, Ħaż-Żebbuġ Line-up: •NIGHTFALL — Greece •ASAGRAUM — The Netherlands •KAWIR — Greece •EMPTINESS — Belgium TICKETS Advance tickets are available from: https://ticketlane.mt/malta-metal-alliance/peccatorum-iv Advance booking is strongly recommended. PECCATORUM IV forms part of the Malta Metal Alliance 2026 programme. Media enquiries, interview requests and accreditation: Malta Metal Alliance Facebook: https://www.facebook.com/maltametalalliance/

Nebular Festival returns to The Garage Żebbuġ, Malta on Saturday, 28th November 2026, marking the seventh edition of the festival and another night dedicated to heavy and alternative music. This year’s lineup brings together four bands spanning post-black metal, noise rock and stoner doom, led by Warsaw-based Hangover in Minsk. Formed in 2024 by members of Belarusian depressive doom and post-black metal band Dymna Lotva, Hangover in Minsk began as an idea during a long drive home from Dark Easter Metal Meeting. What started as jokes about “depressive beer metal” soon developed into a project built around melancholy, raw emotion and atmospheric heaviness. Their music combines post-black metal and post-metal with deeply introspective melodies and an unmistakably bleak mood.( Zobens un Lemess Festival) The band released its debut album, Party Is Over, in April 2025. The eight-track record features guest appearances from Déhà and Kim Carlsson and established Hangover in Minsk as a distinctive new voice within the European post-black metal scene.( Metal Archives) Joining them are three bands from Malta’s underground music scene: Niket deliver a raw and atmospheric take on post-black metal, moving between haunting soundscapes and intense heaviness. Dalam bring a loud and abrasive blend of noise rock, driven by energy, tension and distortion. Hemplifier completes the lineup with fuzz-drenched stoner doom, packed with massive riffs and heavy grooves. Now entering its seventh edition, Nebular Festival continues its mission of bringing different corners of the heavy music scene together while providing a platform for both international and local artists in Malta. The event will take place at The Garage, Żebbuġ, with doors opening at 8:00 PM. Entrance is €20 at the door, with a limited number of early bird tickets to be announced soon. EVENT DETAILS Nebular Festival 2026 Saturday, 28th November 2026 The Garage, Żebbuġ Doors open at 8:00 PM Entrance: €20 at the door LINEUP Hangover in Minsk 🇵🇱 Niket 🇲🇹 Dalam 🇲🇹 Hemplifier 🇲🇹 Further information and early bird ticket details will be announced through Nebular Festival’s official social media channels.

Two days of live music, visual arts, creative workshops, exhibitions and local makers will take place on 23 and 24 October 2026 SoundArt Festival Malta has officially announced the programme for its 2026 edition, with the festival set to take place over two days on Friday, 23 October and Saturday, 24 October 2026. Bringing together live music, visual arts, creative exhibitions, industry workshops and local makers, SoundArt Festival Malta 2026 will once again provide a space for artistic expression, collaboration, learning and community. The festival opens on Friday evening with a programme centred around live music, art and creativity, featuring an exciting line-up of established and emerging acts from Malta alongside an international guest. Headlining the evening will be Nomad Son, one of Malta's best-known doom metal exports, who will return to the stage for their first live performance in a considerable period. Formed in 2006, Nomad Son developed a distinctive take on traditional doom metal, combining the weight of classic doom with strong 1970s hard-rock influences and Hammond-driven atmospherics. The band, featuring veteran Maltese bassist Albert Bell, has built an international reputation through releases including First Light, The Eternal Return and The Darkening, as well as performances at major European metal festivals including HOD in Germany. Joining Nomad Son will be fellow Maltese act Damaged & Co., an alternative/melodic metal band whose musical journey began with Kill o'Clock before evolving into its current identity. The band released its debut album, Life's Grand Delusion, in 2023 and has subsequently continued developing its blend of melodic and alternative metal. Damaged & Co. are also signed to the international label Wormholedeath, giving the group an increasingly wider presence beyond the local scene. The international dimension of Friday's programme comes from Oatshwan, who will bring a Greek presence to the festival's musical line-up. Oatshwan's appearance adds another international element to SoundArt Festival Malta's commitment to creating connections between local and overseas artists. Publicly available information on the Greek act is currently limited, and the festival programme therefore provides an opportunity for Maltese audiences to discover the band directly. Completing the live music programme are Weeping Silence, one of the longest-established names in Malta's alternative metal scene. Formed in the mid-1990s, the band has spent decades developing its atmospheric approach to gothic and doom metal. Their catalogue includes albums such as End of an Era, Theatre of Life, For the Unsung, Opus IV: Oblivion and Isles of Lore, while their live history includes appearances at festivals in Malta and overseas, including MetalDays in Slovenia and Dames of Darkness in the United Kingdom. Beyond the music, Friday's programme will also highlight Malta's emerging artistic talent. Visitors will be able to view exhibitions featuring work by young students from the Visual and Performing Arts School (MVPA), offering the opportunity to experience the creative work of a new generation of Maltese artists. A creative market will further contribute to the festival atmosphere, bringing together local vendors presenting handmade goods, artwork, crafts and other unique creations. The market will complement the musical and artistic programme while providing a platform for local makers and independent creatives. Doors on Friday, 23 October, open at 18:30. The festival continues on Saturday, 24 October, shifting its focus towards learning, professional development and artistic exploration. The day will feature a programme of industry workshops delivered by professionals from the music and wider creative industries. Through their experience and expertise, the workshop leaders will address a variety of subjects relevant to musicians, artists and creatives, providing participants with opportunities to learn, exchange ideas and gain practical knowledge. Art will remain an important part of the Saturday programme, with exhibitions continuing throughout the day and providing visitors with further opportunities to discover the work of emerging artists. Doors on Saturday open at 08:30. Participation in Saturday's workshops requires a €10 day ticket. Participants must complete both stages of the registration process: first completing the official workshop registration form and then purchasing the €10 day ticket through Ticketboot.com. Both steps are required for registration to be considered complete. Workshop registration form: SoundArt Festival Malta 2026 Workshop Registration Tickets for SoundArt Festival Malta 2026 are available through Ticketboot.com, with early bird tickets available until 3 September 2026. A special discount is also available through Musicians Wanted Malta. The discount code WR8N6N can be used when purchasing tickets through Ticketboot.com and will remain valid until the eve of the festival. With its combination of live performance, visual art, creative enterprise and professional workshops, SoundArt Festival Malta 2026 aims to bring together different areas of Malta's creative community while strengthening links with artists from abroad. The return of Nomad Son to the live stage, performances by Damaged & Co. and Weeping Silence, the international appearance by Greece's Oatshwan, alongside exhibitions, makers and industry workshops, promises two days that place creativity and artistic collaboration firmly at the heart of the festival. SoundArt Festival Malta 2026 takes place on Friday, 23 October and Saturday, 24 October 2026.

Pilgrimage Unveils Second Single Ahead of Upcoming Album 'From Amber To Sun' Atmospheric doom metal project Pilgrimage is gathering momentum ahead of their sophomore album release, From Amber To Sun, due out August 29 via Meuse Music Records. Earlier this month, the band unveiled their first single, “Whispers on Stellar Seas,” which has garnered nearly 1,000 views on YouTube — a milestone the band hopes to soon surpass. “The reception to ‘Whispers on Stellar Seas’ has been incredible. It’s a deeply personal track, and we’re thrilled that so many listeners are connecting with it,” a representative for the band shared. The hauntingly melodic track features guest vocals from Heike Langhans (Official), whose ethereal voice adds a rich layer of atmosphere to the composition. Building on the excitement, Pilgrimage has now released their second single, “A Foreboding Menace,” available exclusively through Meuse Music Records' Bandcamp page. The track continues the band’s journey through cosmic despair and introspection, hinting at the thematic depth of the upcoming full-length release. Fans can pre-order From Amber To Sun now through the official Meuse Music Records store, the band’s own Bandcamp, or directly via Meuse Music’s Bandcamp. “We poured a lot into this record. From the artwork to the layered arrangements, this album is the culmination of years of growth,” the band stated. “With every release, we aim to pull listeners deeper into the world we’re creating.” Listeners are encouraged to support the band by watching the “Whispers on Stellar Seas” video on YouTube and sharing it to help the song reach its 1,000-view milestone. With two singles now unveiled, anticipation is building fast for From Amber To Sun. For more updates, follow @pilgrimagedoom or visit M9 Music and Meuse Music Records. Oblique Visions Announce New Guitarist Roberto Guida, Expanding to a Three-Guitar Lineup Progressive doom metal act Oblique Visions has officially welcomed a new member to its ranks, further strengthening its sonic arsenal. In a band announcement made earlier this week, Oblique Visions introduced Roberto Guida as their third guitarist, solidifying a powerful triple-guitar lineup alongside Jeffrey Bugeja and Frank Pizzo. “The OBLIQUE family just got bigger!” the band shared enthusiastically on social media. “Ladies and gentlemen, please welcome on board, our latest addition on third guitar.... Mr. Roberto Guida!!” Guida’s on-stage chemistry with the band had already been witnessed earlier this month when Oblique Visions performed at the Malta Metal Weekend, sharing the stage with heavyweights Opeth and Cemetery Skyline. He stepped in for founding guitarist Jeffrey Bugeja, who was indisposed for the show. Guida’s performance reportedly impressed both fans and fellow musicians, setting the tone for what now appears to be a natural and permanent fit. “Roberto brought incredible energy and precision to our set at Malta Metal Weekend,” said a representative from the band. “We knew almost instantly that we wanted him to be part of the journey going forward.” With this addition, Oblique Visions joins a select group of metal bands embracing a three-guitar format, a move that promises richer harmonies, heavier layering, and more dynamic live arrangements. The updated lineup — Bugeja, Pizzo, and Guida on guitars — is expected to play a major role in shaping Oblique Visions’s future material and live sound. While no official word has been given on upcoming releases, fans are already speculating that a new chapter for the band is on the horizon. Stay connected with Oblique Visions for more updates and upcoming tour dates via their official channels. Beheaded Gears Up for Tour with Focus on New Album GĦADAM Maltese death metal titans Beheaded have hit the ground running following the release of their blistering seventh studio album, GĦADAM, which dropped on July 25 via Agonia Records. As they rehearse in Italy for a string of upcoming shows and festival appearances, the band has turned to fans for input on their live setlist. “We're in Italy working on our set list for the upcoming shows & festivals, focusing on new songs from GĦADAM,” the band posted on Facebook on July 28. “Which tracks would you like to see us play live from our new album?” GĦADAM, is already drawing critical acclaim for its relentless intensity, intricate songwriting, and commanding execution. According to Mystification Zine, the album is “a merciless slab of brutality that remains rooted in classic death metal while expanding Beheaded’s sonic reach into darker, more atmospheric realms.” The review praises the production as “crushingly clear without losing rawness,” calling it one of Beheaded’s most complete works to date. Metalitalia also offered a glowing assessment, stating that GĦADAM is “an excellent return that reinforces Beheaded’s status among European death metal elite.” The review highlights tracks like "Xibka tal-Gideb" and "Roti tal-Qirda" as standouts, noting their “technical precision, blast-driven rage, and grim cultural resonance.” The album is now available in multiple physical formats via Agonia Records and across all major streaming platforms: Stream GĦADAM. With seven albums under their belt and a reputation for ferocious live performances, Beheaded continues to be a dominant force in the international extreme metal scene. Fans attending their upcoming shows can expect a setlist that dives deep into the raw power of GĦADAM — and maybe even helps shape it. For more updates, tour dates, and merchandise, follow Beheaded on their official social media channels.

Part 2 – From tragedy to triumph: forging the epic doom legacy The years of change and the shadow of loss 1994 Evermore photo shoot (photo: Forsaken) Following the release of Evermore, Forsaken continued building their reputation as one of Europe’s most promising doom metal acts. The late 1990s were a challenging period for many traditional metal bands. Musical trends had shifted dramatically, with alternative rock, nu-metal and more extreme forms of metal dominating much of the international scene. Yet within underground circles, traditional heavy metal and doom maintained a devoted following and Forsaken remained committed to their chosen path. The band’s music was never designed to follow trends. From the beginning, Forsaken’s identity had been built upon authenticity rather than commercial ambition. Their compositions demanded patience from the listener, rewarding repeated exploration through layers of atmosphere, intricate arrangements and lyrical depth. However, the closing years of the 1990s and the beginning of the new millennium brought significant challenges. Like many long-running bands, Forsaken experienced changes in personnel, but the greatest tragedy came with the illness and passing of guitarist Daniel Magri in 2001. Magri’s contribution to Forsaken cannot be overstated. As one of the musicians responsible for shaping the band’s earliest identity, his guitar work helped establish the melodic and dramatic qualities that became central to their sound. His passing represented a deeply painful moment for the band and for the Maltese metal community. Rather than bringing Forsaken to an end, however, this tragedy strengthened the band’s determination to continue. The spirit of their fallen bandmate remained part of their musical journey, and the group moved forward while preserving the artistic principles they had established together. The ability to survive such a difficult period became one of the defining characteristics of Forsaken. Many bands collapse when confronted with such personal loss, but Forsaken demonstrated the resilience that would become a recurring theme throughout their career. Iconoclast: a new beginning The release of Iconoclast in 2002 marked a significant rebirth for Forsaken. Coming after years of uncertainty and personal challenges, the album represented a powerful statement that the band was not only surviving but entering a new era. Iconoclast displayed a more focused and confident version of Forsaken. The songwriting was heavier, the production more powerful and the band’s epic doom identity more clearly defined. While their earlier progressive influences remained present, the group had fully embraced the style that would make them internationally recognised. On Iconoclast Forsaken expanded their line-up with the addition of Mario Ellul on keyboards, while Sean Vukovic moved into the role of guitarist. This particular formation had already been captured on the Demo 2002 recording, which was released on 10 February 2002, approximately ten months before the arrival of Iconoclast. The demo served as an early indication of the band’s evolving sound and the new musical dimensions that Ellul and Vukovic would bring to Forsaken’s next chapter. The EP’s title itself reflected many of the themes that had always fascinated Forsaken: questioning established ideas, challenging authority and examining the conflicts between tradition and change. Their lyrics often explored historical figures, religious symbolism and philosophical dilemmas, creating narratives that extended beyond conventional metal songwriting. Musically, Iconoclast demonstrated why Forsaken were increasingly being associated with the finest traditions of European epic doom metal. The influence of legendary acts such as Candlemass was evident, but Forsaken were never simply followers. They combined the crushing heaviness of doom with their own Mediterranean sense of drama and atmosphere. The album helped reintroduce the band to an international audience and paved the way for what would become one of the most celebrated periods in their career. Anima Mundi: the masterpiece arrives If Iconoclast represented Forsaken’s rebirth, then Anima Mundi, released in 2004, confirmed their status as one of the leading names in epic doom metal. The album is widely regarded as one of the band’s finest achievements and one of the most important doom metal releases to emerge from the European underground during the early 2000s. The title, meaning “soul of the world”, perfectly reflected the philosophical nature of the music. Anima Mundi was not simply an album of heavy riffs and powerful vocals; it was an exploration of existence, spirituality and humanity’s place within the universe. The compositions were expansive and ambitious, featuring long instrumental passages, dramatic vocal melodies and a strong sense of narrative progression. Forsaken had mastered the ability to create songs that felt monumental without losing emotional connection. Leo Stivala’s commanding vocal delivery became one of the album’s defining characteristics. His voice possessed both power and vulnerability, perfectly suited to the epic nature of the material. Whether delivering soaring melodies or darker passages, his performance gave the songs a sense of urgency and grandeur. Albert Bell’s bass playing and songwriting also became increasingly central to the band’s identity. His ability to combine memorable melodies with complex lyrical concepts helped establish Forsaken as more than a traditional doom band. Their music contained a strong intellectual dimension, with every album functioning almost like a literary work. The international response to Anima Mundi was exceptional. Doom metal publications and fans worldwide praised the album for its songwriting, atmosphere and musicianship. It elevated Forsaken from respected underground musicians into a band considered among the elite of the epic doom genre. Anima Mundi also marked the final contribution of keyboardist Mario Ellul to Forsaken. After the album’s release, Ellul decided to dedicate more time and focus to Weeping Silence, the band he had founded in 1995. Following his departure, Forsaken continued their journey as a four-piece formation, maintaining their distinctive epic doom metal sound while moving forward into the next chapter of their evolution. For many fans, Anima Mundi remains the definitive Forsaken album—a perfect representation of everything the band stood for. Dominaeon: the monument of doom metal In 2009, Forsaken released Dominaeon, another landmark album that further cemented their reputation. The album continued the artistic direction established on Anima Mundi while expanding the band’s sonic and conceptual horizons. The title, combining references to dominion and ancient symbolism, reflected the group’s continuing fascination with themes of power, belief, civilisation and humanity’s relationship with the divine. Melodija.eu’s feature on Dominaeon described the album as “a monument of doom metal”, a fitting description for a release that demonstrated Forsaken’s ability to create music of enormous scale and emotional impact. The album contained all the elements that had become associated with the band: massive riffs, dramatic melodies, powerful vocals and lyrics filled with historical and philosophical references. Yet it also showed maturity and refinement. Forsaken were no longer simply proving that a Maltese band could compete internationally—they had become a respected force within the genre itself. By this stage, Forsaken had developed a unique identity. While many doom bands focused primarily on darkness and despair, Forsaken’s music contained a broader emotional spectrum. Their songs explored suffering but also resilience, destruction but also renewal, mortality but also the search for meaning. This balance between heaviness and contemplation became one of their greatest strengths. The international recognition grows 2009 After The Fall photo shoot (photo: Forsaken) During the 2000s and early 2010s, Forsaken became regular participants in major European doom and traditional metal events. Their reputation as a live band grew alongside their studio achievements, with appearances at respected festivals and gatherings dedicated to classic and underground metal. Among the events where they performed were Doom Shall Rise in Germany, Hammer of Doom, Headbangers Open Air and various European doom festivals that brought together the world’s leading traditional metal and doom acts. These appearances were particularly significant because they placed Forsaken alongside many of the musicians who had inspired them. Sharing stages with respected international acts demonstrated that they had earned their place within the global metal community. For Maltese musicians, Forsaken’s achievements were groundbreaking. They showed that artists from the island could achieve recognition without abandoning their roots or attempting to imitate scenes from larger countries. Their success also helped inspire subsequent generations of Maltese metal musicians. Bands from Malta began receiving greater international attention, and the island gradually became recognised as a small but remarkably active centre for heavy music. After the Fall: continuing the journey Following the success of Dominaeon, Forsaken entered another important phase with the release of After the Fall in 2011. The album continued exploring many of the themes that had always defined the band: apocalypse, redemption, human failure and the consequences of civilisation’s choices. Rather than repeating past formulas, Forsaken continued developing their sound. The band’s trademark epic doom remained at the centre, but their songwriting demonstrated increasing maturity and confidence. The album also reinforced their reputation as musicians who valued quality over quantity. Forsaken have never been a band that releases material simply to remain visible. Each album has been carefully crafted, with significant attention given to composition, atmosphere and lyrical meaning. This approach explains why their catalogue remains highly regarded despite being relatively selective compared with many other bands. Tales of Doom and Woe Released in 2017, Tales of Doom and Woe was a unique collaborative release with Finnish doom metal outfit Fall of the Idols. The project brought together two respected bands from different corners of Europe, with each contributing two tracks to the release. Fall of the Idols featured Vesa Karppinen on bass, Jyrki Hakomäki on vocals, Hannu Weckman (R.I.P. 2011) on drums, alongside guitarists Tommi Turunen, Rami Moilanen and Jouni Sihvonen. Forsaken’s contribution consisted of a heartfelt tribute to one of their greatest influences, Candlemass, through their interpretation of the classic Solitude, alongside the original composition Visions In Thy Shadow. The release served as both a celebration of the doom metal tradition that had inspired Forsaken throughout their career and a testament to their continuing relevance within the international doom community. By this stage, Forsaken had become more than a band. They had become an institution within Maltese heavy metal and a respected name internationally among doom enthusiasts. Part 3 – A legacy carved in stone: the enduring power of Forsaken - 31st August 2026

Introducing one of Malta’s freshest new voices, Mia Lanzon, whose debut single, “Forevermore,” explores the love shared between two people—a message that can resonate across many different relationships. Written and produced by Mia Lanzon, with assistance from Gillian Attard and Cyprian Cassar, “Forevermore” is a bold introduction to an artist who is unafraid to stand out and express what she is truly passionate about. Inspired by artists including Sienna Spiro, Mulaa Joans, Freya Skye, Beyoncé, and Adele, Mia Lanzon admires the way they connect with their music and give their all every time they perform. “Forevermore” carries an important message: no matter how difficult life becomes, we should always hold on to the people we love, because true love can last forever. As Malta continues to make its mark on the music scene with fresh and talented artists, Mia Lanzon is ready to begin an exciting new chapter. “Forevermore” is available on Spotify About Mia Lanzon Mia Lanzon is a rising Maltese artist who has participated in several competitions, including Brillanti Singers, a singing competition in Macedonia and The Voice Kids, where she advanced to the finals.

Few bands have left as deep and enduring a mark on Malta's alternative music scene as B.N.I. (Batteries Not Included). Emerging in the early 1990s, when punk remained a niche genre on the islands, the trio not only survived the changing musical landscape but helped define it. More than thirty years after their formation, B.N.I. continue to embody the DIY ethos of punk rock while remaining one of Malta's most respected and influential underground bands. photo: BNI (Facebook) Their story begins in 1993, when friends Miguel "Kinnie" Debattista and Malcolm "Mammal" Dalli stumbled upon a live recording of Sham 69's classic anthem If the Kids Are United. Captivated by the song's raw energy and uncompromising attitude, the pair decided to learn it themselves. What started as a simple cover soon evolved into something far more significant. Inspired by the spirit of British punk but determined to forge their own identity, they began writing original material and laid the foundations for what would become one of Malta's longest-running punk bands. Unlike many of their contemporaries, B.N.I. never positioned themselves as a heavily political act. Their songs drew inspiration from everyday experiences, personal frustrations, local culture and the peculiarities of life in Malta. While their music carried the urgency and rebelliousness traditionally associated with punk, their lyrics were often characterised by wit, irony and observations of ordinary life rather than overt ideological statements. As Miguel Debattista later explained in interviews, the band always approached music simply "for music's sake," prioritising honesty and authenticity over fashion or dogma. photo: BNI (Facebook) Musically, B.N.I. developed a distinctive sound that blended classic British punk with the melodic sensibilities of the 1990s American punk revival. Influences ranging from the Ramones, Rancid, NOFX, Green Day and The Offspring to reggae, ska, The Police and even Johnny Cash all found their way into the band's songwriting. The result was a fast, energetic crossover style that combined aggressive guitars with infectious melodies and occasional ska and reggae rhythms without ever losing its punk core. Their earliest release came in 1994 with the demo cassette Unsolved, introducing the local underground to their energetic sound. Yet it was their debut full-length album, Native Tongue / Ilsien Pajjiżi, released in 1999, that cemented their place in Maltese music history. The album represented more than simply another independent punk release. It broke new ground by featuring what are widely recognised as the first punk rock songs ever recorded in the Maltese language. Tracks such as L-Imġissem, Qrunha f'Butha and Punk demonstrated that the local language could comfortably coexist with distorted guitars, rapid-fire rhythms and punk attitude. At a time when English dominated Malta's rock scene, this was a bold artistic statement. live at Coconut Grove 2009 photo: Kevin Cassar The album's bilingual title reflected this ambition. "Native Tongue" was not merely a translation of Ilsien Pajjiżi; it symbolised the band's determination to root punk within their own cultural identity. In a 1999 interview, the band noted that they chose the title precisely because they had recorded songs in Maltese, making them unique within the local punk scene at the time. Their decision would ultimately inspire many younger Maltese punk bands to embrace their own language in subsequent years. B.N.I.'s emergence coincided with an important period in the development of Malta's alternative music community. Venues such as Dempsey's Bar and later The Edge in Buġibba became focal points for punk and rock culture, providing opportunities for bands to perform regularly and develop loyal audiences. The atmosphere surrounding these venues helped nurture an entire generation of musicians, with B.N.I. standing among the movement's leading figures. Unlike many underground acts that struggled to remain active beyond a few years, B.N.I. steadily expanded their ambitions. They became known for relentless live performances across Malta while embracing the DIY touring ethic that has long characterised punk culture. Rather than waiting for major opportunities, the band organised their own tours abroad, performing throughout the United Kingdom and Germany while also playing shows in France and Luxembourg. These tours allowed them to introduce Maltese punk to wider European audiences and strengthened connections between Malta's underground scene and the broader international punk community. live at Coconut Grove 2009 photo: Kevin Cassar Their second album, Force Majeur, arrived in 2004 after recording sessions at Temple Studios. While retaining the intensity of their earlier work, the record demonstrated noticeable musical growth. Ska and reggae influences became more pronounced, broadening the band's sonic palette without sacrificing the speed and directness that had defined their debut. The album displayed more refined songwriting while maintaining the raw energy that characterised their live performances. Two years later came On and On..., perhaps the most aptly titled record in the band's catalogue. Released in December 2006, the album successfully fused the youthful aggression of Native Tongue with the increasingly mature songwriting evident on Force Majeur. The record reaffirmed B.N.I.'s commitment to evolving musically while remaining unmistakably punk. Following its release, Steve "Lombardo" Attard became the band's drummer, joining founding members Debattista and Dalli to complete the lineup that continues today. By this point, B.N.I. had become widely recognised as veterans of the Maltese rock scene. Music journalists described them as one of the country's finest local rock bands, praising not only their recordings but also their consistently energetic and unpredictable live performances. Their concerts earned a reputation for generating the communal excitement and catharsis that define punk shows, while simultaneously attracting audiences beyond the traditional punk community. Despite changes in musical trends, the band never disappeared. Instead, they continued performing regularly, recording new material and maintaining their presence within Malta's independent music scene. A 2017 interview with Miguel Debattista highlighted the band's refusal to become nostalgic or complacent. While acknowledging the transformations brought about by social media and digital culture, he reaffirmed the values that had sustained B.N.I. since the beginning: authenticity, independence and staying true to oneself rather than chasing popularity. photo: BNI (Facebook) Nearly three decades after their formation, B.N.I. released their fourth studio album, Exponential Self-Destruction, in late 2022. Recorded at Hell Next Door Studio by Steve Attard, the album served as a powerful reminder that the band had no intention of slowing down. Loud, fast and uncompromising, it demonstrated that their passion remained as strong as ever. Rather than becoming a nostalgic legacy act, B.N.I. continued writing new music that reflected the same spirit which first inspired them after hearing Sham 69 all those years earlier. Today, the band consists of Miguel "Kinnie" Debattista on vocals and guitar, Malcolm "Mammal" Dalli on vocals and bass, and Steve "Lombardo" Attard on drums. More than thirty years after their formation, they remain active performers both in Malta and occasionally abroad, continuing to embody the DIY principles that shaped them from the beginning. The importance of B.N.I. extends well beyond their discography. They demonstrated that punk rock could thrive in Malta without imitating larger scenes abroad. By embracing Maltese alongside English, touring independently across Europe, and remaining committed to their own artistic identity for over three decades, they helped establish a distinctly Maltese voice within international punk culture. Boxing Day 2025 at The Garage with special guests, Katrina Von Rose and David Cauchi photo: BNI (Facebook) For younger generations of local musicians, B.N.I. are more than simply another veteran band. They represent proof that authentic, uncompromising music can emerge from a small island nation and resonate far beyond its shores. Their legacy lies not only in four studio albums and countless performances but in helping build the foundations upon which much of Malta's contemporary punk and alternative music scene now stands. Farsons Beer Festival 2024 photo Rachel Mifsud Next BNI performance is at Grintafest - The Maltese Punk Festival on Monday 21st September at Tigulio

Devil’s Breath, Cultura Obscura and Esoteric Ethiopia Featured on the New Santa Sangre Magazine Compilation Three projects connected to the members of Devil’s Breath explore the psychological darkness of The Seventh Continent The latest annual compilation from Santa Sangre Magazine has been released, once again featuring contributions from the Maltese experimental music project Devil’s Breath, together with the two solo aliases of its members, Cultura Obscura and Esoteric Ethiopia. Following their participation in last year's edition, all three projects return to the Santa Sangre compilation with new and specially conceived works. For this year's release, participating artists were invited to take inspiration from the 1989 Austrian film The Seventh Continent, directed by Michael Haneke. The film, which has since become recognised as one of the most unsettling examinations of alienation and existential despair in modern cinema, provided the conceptual starting point for the contributors. Among the themes explored by The Seventh Continent are psychological withdrawal, an imagined escape from existence, self-destruction, and the collapse of meaningful communication and social connection. These themes have been interpreted by the three projects through distinctly different but complementary sonic approaches. The first of the three contributions appears as Track 56, with Esoteric Ethiopia presenting Geography of Non-Being. Described as Atmospheric, Drone, Noise, Ambient with Industrial elements, the piece approaches the concept of absence and existential withdrawal through an immersive and oppressive sonic environment. Rather than relying on conventional musical structures, Esoteric Ethiopia creates an atmosphere in which sound itself becomes a representation of emptiness, isolation and the gradual disappearance of meaning. The second contribution comes from Devil’s Breath, whose Thought Patterns of the Already Absent occupies Track 59 on the compilation. Classified as Ritual, Industrial, Power Electronics and Experimental, the track explores the psychological terrain suggested by Haneke's film through a considerably harsher sonic language. With its combination of ritualistic elements, industrial textures, power electronics and experimental sound, Thought Patterns of the Already Absent continues Devil’s Breath's exploration of the darker and more confrontational aspects of experimental music. The title itself evokes a state in which physical presence and psychological existence have become increasingly disconnected, reflecting the film's themes of withdrawal and the breakdown of human connection. Completing the trio is Cultura Obscura, featured as Track 63 with Anomic Silence. The piece is described as Atmospheric, Drone, Noise Ambient and Experimental, and approaches the concept of social and communicative collapse from a more atmospheric perspective. The term "anomic" is particularly fitting within the context of The Seventh Continent, referring to a condition in which established social norms, values and structures lose their meaning or authority. Cultura Obscura's contribution therefore provides another interpretation of the film's central themes, using drone, noise and ambient textures to construct a soundscape characterised by isolation, disconnection and silence. Although Esoteric Ethiopia, Devil’s Breath and Cultura Obscura are presented as separate artists on the compilation, they share a direct connection. Cultura Obscura and Esoteric Ethiopia are the respective solo aliases of the two members of Devil’s Breath, allowing the three projects to approach the same conceptual source from different musical perspectives. The result is three distinct interpretations of the same cinematic inspiration: Esoteric Ethiopia examining the geography of absence, Devil’s Breath confronting the internal patterns of those already psychologically withdrawn, and Cultura Obscura exploring the silence produced when meaningful structures and communication collapse. Santa Sangre Magazine's annual compilation continues its tradition of bringing together artists working within the darker, experimental and underground reaches of music. The new edition provides another opportunity for Devil’s Breath and its associated projects to explore territory beyond conventional genre boundaries while contributing to an international community of artists responding to a common creative theme. The Seventh Continent, the 1989 film that inspired this year's compilation, is currently also available in full online, allowing listeners to experience the cinematic work that provided the conceptual foundation for the participating artists. The three tracks by Esoteric Ethiopia, Devil’s Breath and Cultura Obscura are available as part of the new Santa Sangre Magazine compilation, with the individual tracks also available through Santa Sangre Magazine's Bandcamp page. Track Information Track 56 – Esoteric Ethiopia – “Geography of Non-Being” Atmospheric / Drone / Noise / Ambient / Industrial Track 59 – Devil’s Breath – “Thought Patterns of the Already Absent” Ritual / Industrial / Power Electronics / Experimental Track 63 – Cultura Obscura – “Anomic Silence” Atmospheric / Drone Noise Ambient / Experimental The individual tracks can be heard through the official Santa Sangre Magazine Bandcamp release: Esoteric Ethiopia – “Geography of Non-Being” Devil’s Breath – “Thought Patterns of the Already Absent” Cultura Obscura – “Anomic Silence” The film that inspired the compilation is listed on IMDb – The Seventh Continent (1989).

Maltese artist Myles returns with “RKANT”, featuring DJ Mac, a confrontational new release taking aim at overdevelopment, political convenience and the increasingly blurred line between public interest and private profit in Malta. The title - RKANT, Maltese for auction - forms the central metaphor of the track: a country where seemingly everything has a price. “Din mhix gżira... dan huwa rkant.” This isn’t an island... this is an auction. Through sharp satire and deliberately direct Maltese lyrics, Myles paints a familiar picture: cranes dominating the skyline, gardens becoming apartment blocks, windows looking into other windows and land once valued for what it was being reduced to another item on the market. The song questions what Malta has come to define as “progress”: “Kull metru kwadru għandu prezz... ilbieraħ ġnien, illum kumpless, nagħtu x-xemx u nsejħulha progress.” But “RKANT” moves beyond construction itself. Its second half turns towards the systems that allow it to happen - planning, permits, political connections and a culture where rules can appear flexible depending on who is holding the pen. “Il-liġi tintewa skont min iżomm il-pinna.” The track uses humour and exaggeration alongside frustration, reflecting the increasingly absurd relationship between development, politics and everyday Maltese life. DJ Mac features on the release, continuing a collaboration with Myles that has become closely associated with the latter’s Maltese-language material and its mixture of alternative music, rap and social commentary. “RKANT” follows Myles’ growing catalogue of Maltese songs using music as a way of documenting and questioning what is happening around him. Rather than presenting itself as a political manifesto, the track asks a simpler question: If Malta continues selling off the things that made it worth living here in the first place, what exactly will be left for the next generation? “X’se tħalli lil uliedek? Mhux xi postcard żgur.” “RKANT” featuring DJ Mac is out now. Official Visualizer: https://youtu.be/BzQBhBrldN4

This year’s Rock in the Forest annual concert will be supporting The Sigma Foundation, a Maltese registered NGO dedicated to empowering underprivileged communities around the world through philanthropy, positive impact and sustainable development projects. Taking place on Friday 21 August 2026, Rock in the Forest will once again bring together some of Malta's leading musicians for an evening of live rock music at the Greek Amphitheatre within Ta' Qali National Park. Combining quality live entertainment with charitable fundraising, the event has become a popular fixture on Malta's summer calendar, attracting music lovers of all ages while supporting worthy causes. Since its inception, Rock in the Forest has evolved into a successful fundraising concert built on the generosity of musicians, volunteers, sponsors and supporters. By carefully controlling costs, with all musicians performing free of charge, the organisers aim to maximise the donation made to the chosen beneficiary following the event. This year's edition promises another memorable evening of live music, featuring a carefully selected setlist designed to appeal to audiences of all ages. The programme will include a mix of classic rock anthems, contemporary favourites and iconic songs by popular bands including Pink Floyd, the Killers, Black Sabbath, Green Day, Queen, Led Zeppelin, Journey, Guns N' Roses, Muse, Coldplay, YUNGBLUD, among others. The resident Rock in the Forest band comprises Georgius Mifsud (musical director, guitars and vocals), Carl Tanti, Max Paget and Mario Saliba on guitars, Clifford Smith on bass, Sergio Bellizzi on keyboards, and Kristina Perotti and Franco Aloisio on drums and percussion. The resident band will be joined by singers Jeanelle Newell, Sarah De'Marco and David Ellul Mercer, whose performances will bring to life a diverse repertoire of rock classics, crowd favourites and contemporary hits throughout the evening. Special guests will include the one and only Gianni Zammit, returning to the Rock in the Forest stage, together with Janice Debattista from RUG. Vocals powerhouse Thea Aquilina will also make a welcome return, while event founder David Perotti is expected to make a brief appearance on stage during the performance of an iconic Pink Floyd classic. This year's edition moves to the Greek Amphitheatre at Ta' Qali National Park, a venue that offers a unique open-air setting capable of recreating the intimate atmosphere and special connection with the audience that have become synonymous with Rock in the Forest. Centrally located and surrounded by trees, the venue provides an ideal backdrop for an evening of live music. Ample parking facilities are available, while several bars and food stalls operated by Corinthia Caterers will be open throughout the event. Doors open at 7:30pm. Tickets are available online at https://www.showshappening.com/Rock-in-The-Forest/rock-in-the-forest-2026-edition or at the door. Children under 13 years of age are allowed free entrance. For updates and further information, follow Rock in the Forest on: Facebook: https://www.facebook.com/rockintheforest/ Instagram: https://www.instagram.com/rock_intheforest/

Part 1 - The Maltese masters who carried the torch of doom across the world In the vast history of heavy metal, there are bands that emerge from the expected centres of the genre and those that appear from places where few would have predicted their existence. Forsaken belong firmly to the latter category. Emerging from a country more commonly associated with its ancient history, unique cultural heritage and Mediterranean identity than with extreme metal, Forsaken have spent thirty-five years proving that geography is no barrier to artistic ambition, musical conviction and international recognition. live 2022, supporting Ross The Boss at Aria (photo: Forsaken) By 2026, Forsaken stand as one of Malta’s most internationally respected musical exports and one of the longest-running active epic doom metal bands in the world. Their journey from the early 1990s underground scene to becoming a revered name among doom metal devotees has been one built on perseverance, uncompromising creativity and an unwavering dedication to their craft. While many bands have come and gone, adapting themselves to changing trends or disappearing when circumstances became difficult, Forsaken have remained true to their original vision: creating majestic, dramatic and emotionally powerful doom metal inspired by history, philosophy, spirituality and the darker aspects of the human experience. The band’s story is not simply the story of a metal group. It is a story about Malta’s emergence within the international heavy metal community, about musicians who challenged expectations, about friendships forged through adversity and about a unique sound that transformed a small island’s underground movement into a recognised force within the global doom metal scene. The birth of a vision: from Blind Alley to Forsaken When Forsaken first began their journey in the early 1990s, Malta’s heavy metal scene was still relatively young. The island had a passionate but small community of rock and metal enthusiasts, with musicians often working against geographical isolation, limited resources and a lack of exposure to international trends. Imported records, music magazines and occasional radio programmes were the main connections Maltese musicians had with the wider metal world. Against this backdrop, a group of musicians began developing a sound influenced by the giants of heavy metal and progressive music. The band initially formed in 1990 under the name Blind Alley, with the intention of exploring a style that combined the power of traditional heavy metal with progressive elements. However, as the musicians refined their direction, it became clear that a different identity was required—one that reflected the darker, heavier and more epic nature of their compositions. In 1991, Blind Alley evolved into Forsaken, a name that would eventually become synonymous with Maltese doom metal. From the beginning, the band’s ambitions extended beyond simply imitating their influences. While the shadow of legendary acts such as Black Sabbath, Candlemass, Solitude Aeturnus and early progressive metal pioneers could be heard in their music, Forsaken sought to develop their own voice. Their approach was built around atmosphere, powerful riffs, dramatic arrangements and lyrical themes that went far beyond the traditional subjects often associated with heavy metal. The band’s music explored concepts of spirituality, ancient civilisations, moral struggles, human suffering, redemption and existential questions. These themes would become a defining characteristic of Forsaken’s identity throughout their career. The early line-up featured bassist Albert Bell, guitarist Kevin Azzopardi, vocalist Leo Stivala, keyboardist Cay Schembri and drummer Simeon Gatt, although, like many bands in their formative years, the group would experience several changes before reaching the stable line-up that would define much of their later career. Requiem: the first chapter The first official recording that introduced Forsaken to the wider underground metal community was the Requiem demo. Released during the early 1990s, the recording captured a band still developing its identity but already displaying many of the characteristics that would later become their trademarks. The demo represented an important milestone, not only for Forsaken but for Maltese metal as a whole. At a time when international attention rarely focused on bands from Malta, Forsaken demonstrated that musicians from the island were capable of producing material that could stand alongside underground releases from more established metal nations. The response to Requiem helped the band gain recognition outside Malta and eventually led to opportunities that would dramatically change their career. Their combination of heavy riffing, epic structures and a strong sense of atmosphere immediately attracted attention from listeners who were searching for something beyond the emerging trends of the early 1990s. While grunge and alternative rock dominated much of the mainstream music world, underground metal communities continued to support traditional heavy metal and doom, and Forsaken found themselves becoming part of this international movement. Virtues of Sanctity: the foundation of a legacy One of the most important releases in Forsaken’s history arrived in 1993 with the release of the Virtues of Sanctity EP. More than three decades later, the recording remains regarded as a landmark release—not only in the band’s catalogue but within the history of Maltese heavy metal. The EP saw the introduction of Daniel Magri on guitar, replacing Cay Schembri (keyboards). The EP represented the moment when Forsaken truly began to establish their musical identity. The progressive influences of their earliest days were still present, but the band’s direction had become much clearer. The music was heavier, darker and more dramatic, embracing the epic qualities that would eventually define their interpretation of doom metal. The songs displayed a strong sense of melody while maintaining the crushing heaviness expected from doom. Long instrumental passages, powerful vocal performances and carefully constructed arrangements created an atmosphere that felt grand and almost cinematic. The title itself reflected the band’s fascination with themes of morality, spirituality and ancient symbolism. Forsaken were never interested in writing simple songs about darkness for its own sake. Their approach was more philosophical, using doom metal as a medium for exploring complex ideas about humanity and existence. The importance of Virtues of Sanctity cannot be underestimated. At a time when Malta had little presence within international metal circles, the EP introduced Forsaken to listeners throughout Europe and beyond. It helped establish the band as one of the earliest Maltese groups to achieve recognition outside the island and laid the foundation for everything that followed. Thirty years after its release, Melodija.eu revisited the EP’s importance, highlighting how it remains a crucial chapter not only in Forsaken’s history but in the development of Maltese metal itself. The recording represents a snapshot of a young band with enormous ambition and the determination to create music that could transcend geographical boundaries. Breaking beyond Malta Following the release of Virtues of Sanctity, Forsaken began expanding their reputation internationally. The European underground metal scene of the early and mid-1990s was built on personal connections, tape trading, independent labels and dedicated fans who supported bands regardless of their country of origin. 1994 Evermore photo shoot (photo: Forsaken) Forsaken embraced this environment and began performing outside Malta, bringing their music to audiences across Europe. Their early tours helped establish relationships with musicians, promoters and fans who would continue to support the band throughout their career. These performances were particularly significant because Malta’s geographic location presented unique challenges. Unlike bands from countries with established touring circuits, Maltese musicians had to overcome the additional difficulties of travelling from an island nation. Every overseas appearance required greater planning, financial commitment and determination. However, these obstacles also strengthened Forsaken’s reputation. Their willingness to travel and perform demonstrated that they were not merely a local act but a band with genuine international ambitions. During this period, Forsaken continued refining their sound. The early doom influences became increasingly dominant, while elements of progressive metal, classical music and traditional heavy metal remained part of their identity. The band was developing the style that would eventually place them among the respected names of epic doom metal. The arrival of Evermore and the evolution of Forsaken The next major chapter in the band’s story came with the release of their debut full-length album, Evermore, in 1997. The album represented a significant step forward. While Virtues of Sanctity had introduced Forsaken’s potential, Evermore demonstrated a mature and confident band capable of creating a complete artistic statement. The album expanded upon the foundations established by the EP, delivering longer compositions, richer arrangements and a stronger sense of atmosphere. It showcased the band’s ability to balance crushing doom riffs with memorable melodies and dramatic songwriting. At the centre of Forsaken’s music was always a sense of grandeur. Their songs were not simply collections of riffs; they were journeys. The band created musical landscapes where every section served a purpose, building tension and emotion through carefully structured compositions. Albert Bell’s lyrical contributions became increasingly important during this period. His writing explored historical and philosophical themes, often drawing inspiration from ancient cultures, religious symbolism and humanity’s ongoing struggle between hope and despair. The combination of powerful musicianship and intellectual depth helped separate Forsaken from many of their contemporaries. They were a doom metal band, but they were also storytellers. Part 2 – From tragedy to triumph: forging the epic doom legacy - 24th August 2026 Part 3 – A legacy carved in stone: the enduring power of Forsaken - 31st August 2026

Few Maltese artists have devoted themselves to a single musical genre with the same passion and determination as Marty Rivers. In a country where pop, rock and folk have traditionally dominated the local music landscape, Rivers carved out a unique path by embracing country music, a genre deeply rooted in the traditions of the American South. Over a career spanning more than three decades, he has become Malta's foremost country music artist, earning international recognition, recording in Nashville, topping country music charts around the world and proving that authentic country music knows no geographical boundaries. photo: Marty Rivers (Facebook) Born Martin De Carlo into a musical family, Marty Rivers' love affair with music began during childhood. His earliest memories revolve around listening to his grandfather playing the guitar while spending hours exploring his father's record collection. Those formative years introduced him to the sounds and stories that would later define his own songwriting. While many young Maltese musicians of his generation gravitated towards contemporary pop and rock, Rivers found himself captivated by the storytelling, emotion and honesty of country music. His talent became evident at an early age. At just thirteen years old he entered a local singing competition, choosing Conway Twitty's classic It's Only Make Believe as his song of choice. Competing against older and more experienced performers, Rivers emerged as the winner, a victory that convinced him he was destined for a career in music. Before long he had formed his first band and was performing regularly in clubs, bars and various venues around Malta. Although country music remained his first love, Rivers spent many years broadening his musical experience by performing a variety of styles. This period proved invaluable in developing his versatility as both a singer and songwriter. Rather than simply imitating American country music, he gradually developed a style that blended traditional country storytelling with subtle European and Mediterranean influences, resulting in a distinctive sound that would become his trademark. One of the most important relationships in his musical career began when he met lyricist Joe Spiteri. Their collaboration would evolve into one of the longest-standing songwriting partnerships in Maltese popular music. Rivers typically composed the music while Spiteri contributed many of the lyrics, creating songs that combined heartfelt narratives with memorable melodies. Virtually every major album released by Rivers has been the product of this successful partnership. photo: Marty Rivers (Facebook) His breakthrough arrived with the release of his self-titled debut album Marty Rivers, generally recognised as the first album of entirely original country music to be produced in Malta. The record introduced listeners to Rivers' songwriting abilities and quickly attracted attention beyond the Maltese Islands. Songs such as Made in Mexico, Queen of My Heart, Sweet Country Music and The Lord Is Coming Soon received international radio airplay, while Queen of My Heart reached the number one position on a Swedish country music chart. The album demonstrated that an artist from Malta could produce authentic country music capable of competing on the international stage. The success of his debut eventually opened doors that few Maltese musicians had previously experienced. During a visit to Nashville, Tennessee—the undisputed home of country music—Rivers performed at a Memorial Day festival organised by Charlie Ray. His performances attracted considerable interest from music industry professionals and eventually led to a recording contract with Alabama-based Western Star Records. The achievement marked a significant milestone, making him one of the very few Maltese artists to establish a meaningful presence within the American country music industry. In 2008 Rivers released his second album, Out of the Blue, a project that elevated his international profile even further. Recorded in Nashville and produced by the highly respected Gary Carter, whose production credits include artists such as Randy Travis and Faith Hill, the album featured another collection of original songs written together with Joe Spiteri. Critics praised both the quality of the songwriting and the authentic Nashville production. Several singles from Out of the Blue enjoyed remarkable success on international country music charts. Made in Mexico reached number one on J. Ramgatie's International Country Music Top 40, while Blinded became a Top 10 American Gospel chart hit. Another standout track, Call Colorado, was voted among the top songs during the 2008 Music Row Songwriters Festival in Nashville, providing further recognition for Rivers' songwriting abilities. Farsons Great Beer Festival 2012 photo: Michelle Sullivan Faith has always played an important role in Rivers' music, and this became especially evident with his self-penned gospel composition The Lord Is Coming Soon. Originally appearing on his debut album, the song later climbed to number one on God's Country International Music Charts while simultaneously reaching number three on the American Gospel Music Charts. Few Maltese artists have enjoyed comparable success within the international gospel genre, making this one of the defining achievements of his career. Recognition at home followed the growing list of international accomplishments. In 2011 Rivers received the International Achievement Award during the Go Malta Music Awards, honouring the success he had achieved while representing Malta abroad. The award acknowledged not only his chart performances but also his role as an ambassador for Maltese music within the global country music community. That same year he released his third studio album, Midnight Sky, once again recorded in Nashville under the guidance of producer Gary Carter. The album featured twelve tracks, eleven of which were written by Rivers together with Joe Spiteri, and demonstrated the continued evolution of his songwriting. Even before its official release, the single Run Angel Run had entered the Hotdisc Country Music Top 40, while the title track went on to achieve considerable international success. Several songs from the album reached the summit of various European and international country music charts, further cementing Rivers' reputation among country music broadcasters worldwide. The momentum continued as Midnight Sky reached number one on the European Country Top 100, while Mama You're The Lady topped the International Country Top 40. Another composition, The Power of Prayer, climbed to the top of the International Country Gospel Charts and reached number six on the American Country Gospel charts. During this period Rivers also ranked among the most-played country artists internationally on the Ramgatie Top 200, reflecting the widespread radio support his music enjoyed. After taking several years away from the recording studio, Rivers returned with what many consider his most ambitious project to date. Released in 2019, Maltese Falcon featured fourteen original compositions co-written with Joe Spiteri and once again recorded in Nashville using many of the city's leading session musicians. The album reflected both his artistic maturity and his unwavering commitment to traditional country music while introducing fresh lyrical themes and polished production. Performing with Marisa D'Amato at Manoel Theatre photo: Marty Rivers (Facebook) The first single, Why Don't You, immediately reached the number one position on the Ramgatie Top 40 Chart. Another highlight from the album, February of '59, later climbed to the top of the prestigious Hotdisc Top 40, becoming one of the biggest international successes of his career and receiving extensive airplay across country music radio stations worldwide. In recent years Rivers has continued to write and record, releasing standalone singles including Lucky Me, featuring Marisa D'Amato, and Don't Ever Say Goodbye. Although the music industry has changed dramatically since he first began performing, Rivers has remained faithful to the authentic country sound that first inspired him as a young boy listening to his grandfather's guitar and his father's record collection. Throughout his career Marty Rivers has performed not only throughout Malta but also across Europe and the United States, including appearances at respected country music festivals in Italy and performances in Nashville itself. His music consistently draws inspiration from legendary country artists such as Hank Williams, George Jones, Conway Twitty, Kris Kristofferson and John Prine, yet his songwriting possesses a character that is unmistakably his own. photo: Marty Rivers (Facebook) Today Marty Rivers occupies a unique place in Maltese musical history. At a time when few local artists looked beyond the island's mainstream musical trends, he pursued an unwavering vision rooted in traditional country music and succeeded in earning respect from audiences, broadcasters and industry professionals around the world. Through his recordings, chart successes and enduring partnership with Joe Spiteri, he has become not only Malta's most successful country singer but also one of the country's most effective musical ambassadors, demonstrating that talent, authenticity and perseverance can bridge the distance between the Mediterranean and the heart of Nashville.