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On April 28, 2018, I had the privilege of conducting an interview with Dr. Albert Bell, which was not the first time we had spoken and certainly not the last. Typically, our conversations revolve around his involvement in various music projects such as Forsaken, Nomad Son, X-Vandals, and, of course, Albert Bell's Sacro Sanctus. However, this particular interview took a different direction. We focused on the upcoming tenth edition of The Malta Doom Metal Festival, scheduled to be held at Chateau Buskett in a few months' time. Regardless of the topic at hand, it is always a pleasure to have Albert share his thoughts behind a microphone. His insights are consistently fascinating, reminiscent of his engaging lectures. I never fail to learn something new, whether it's about music, history, or any other subject. The interview took place at ONE Productions studios, with audio recording by Joseph Bondin. Katrina from Bloodography captured some striking photos during the interview, while Robert Azzopardi was responsible for videotaping the session. Unfortunately, the video version of the interview was never released, but the audio was broadcasted on both of my shows - Rock Moods and Heatstrokes. This interview was also featured in 2018's festival programme. As of now, the tenth edition of the festival remains the final one to have taken place. It's important to note that although a span of five years is significant, one have to consider the impact of the global Covid-19 pandemic, which halted the world and disrupted live events (indefinitely, as was the general thought). We are still in the process of recovering and rebuilding our live event scene. Although five years have passed since this interview, and certain aspects of our discussion may have changed, it remains an essential part of our documented metal history within our small metal community. One question which surely comes to mind, (and believe me we were asked many times): "Will there be another Malta Doom Metal Festival?" Well who knows, only time will tell, but in the meantime here's what was discussed that evening.... 10 years ago, with Forsaken’s “After The Fall” just one month old and work on Nomad Son’s second opus “The Eternal Return” well under way, you managed to give birth to the Malta Doom Metal Festival. First question is the obligatory: what made you organise such an event and why? First of all, thank you Noel for this interview, and thank you also to OneProductions for hosting us here. Basically my ideas on founding the Malta Doom Festival go back to my experiences with both Forsaken and also Nomad Son at the Doom Shall Rise festivals and other festivals that we were booked during that period, early 2000s and later with Nomad Son. What really captivated me in those festivals was the whole community spirit, and I always wondered what it would be like if we could have something like that locally, in Malta. When the idea first came to me, I believed that Malta was not prepared for such a festival, because the scene was not as strong as it needed to be. But then gradually, you had these emerging local bands, or else bands that had been long established, like Victims of Creation, and Weeping Silence who were really gigging and sort of building strength, and Nomad Son had also erupted on the scene, and response towards these bands was very good, and so suddenly I started thinking that the scene was ready for something of this stature, and I think it was 2006 or 2007 I tried to test the ground, and organised a three way gig called The Doom Metal Assault, with a band from England, Unsilence, and it went really well, so I thought then that it seems like we can do something like this. And this is how the idea to replicate the community spirit of Doom Shall Rise, evolved. So MDM replicates that...attempt to replicate that spirit. From day one the music in the festival was kept as old school as possible. What made you take this decision and do you think it worked? Sometimes these festivals involve strategic marketing decisions, but at the same time I am a purist at heart and every decision that we take reflects my philosophy on heavy metal and what heavy metal should be. So while I know that possibly the more commercial you make it, it’s going to appeal to more people, but that will never be done with Malta Doom Metal. The idea is to focus on doom metal and related sub-genres, anything which we think is associated to doom metal and which we think from our profiling of the average doomhead taking ourselves as being adequate samples, the sort of stuff that we’re into, and that normally involves 80’s metal, I’m not talking about hair metal and glam metal, that’s obviously off limits, but we’re talking about the spirit of ’77, the NWOBHM, proto-thrash and proto-death and also perhaps even going back to the proto-doom sounds, the original sounds coming from the 70’s, that’s all part of what MDM represents, and I think that over the years, this mix of bands has helped to make the festival more interesting. Sometimes it’s difficult that over two days, plus the warm-up show, listening nonstop to doom metal bands, pure doom metal bands, becomes a bit daunting. So basically, what we’re trying to mix it up a bit, to appeal to the tastes of all old school doom metalheads on the island, especially doomheads, and also trying to open the international dimension and get as wide an audience as possible with lots of foreigners like we’ve been having recently, which makes it all the more exciting, and basically now, The Malta Doom Metal Festival has become this annual pilgrimage from all over Europe, and beyond, to Malta, this hub which is slowly developing into a strong niche for Doom metal. Can you take us through the history of the festival please from the eyes of the organiser? Obviously I still have very fond and vivid memories of the first edition, which was hosted in a locality in the entertainment hub on the island called Paceville, or used to be an entertainment hub, now it’s a really a pile of shit. It was hosted in the Poxxbar with 6 bands, 5 Maltese and one foreign band. We had weeping Silence, Victims Of Creation, Dawn Of Anguish, which was just founded around that time and it was (Forsaken’s) Simeon’ Gatt’s, other project, Nomad Son and Forsaken as in local bands, and Dark Quarterer from Italy, one of the leading progressive doom bands throughout history and I still remember that show very vividly....a great show. And the most sort of appealing sentiment to me from that first edition was introducing Dark Quarterer to several of the Maltese audience who hadn’t heard of them before. I remember they had lots of sales, the merch was gone within an hour and the show was fantastic, very intimate. With the second edition then we tried to expand the international dimension and we involved more foreign bands, including a band from Italy called Hands Of Orlac, who since then moved to Sweden if I’m correct. We also had Sorrows Path from Greece and Lothus from Sicily, who featured some members from Trinakrius. This international dimension really sort of made the festival more exciting and brought people from different backgrounds together, different cultures, and the Maltese metalheads were starting to experience this international favour in a big way and in every edition since then, we tried to increase the dose to a great extent. I mean there’s been lot of great editions, I can’t go through them all, we’d need the entire interview to do that, but I remember when we got Pagan Altar here and Terry was still alive and very well. Just hosting them here and continuing to build our friendship was a very nice and great experience. Another great occasion for me was to host The Black, one of my favourite bands from Abruzzo and obviously one of Italy’s, I would argue, strongest bands ever. It’s a very obscure band, which I think would take a little bit of connoisseurship to really get in to. But if I had to pinpoint my favourite show ever throughout all these 9 editions, we’re going on the 10th now, would be the Venom Inc show in 2015. Venom is my favourite all time band, I’ve been into the band since I was about 12 years old, and they were the soundtrack of my youth and well after that, because I continued to follow the band passionately and very religiously, and hosting them here, especially in their Venom Inc. incarnation was very unique and a great experience. Seeing them getting so well with the fans, makes a band in my opinion much more special than they are, because sometimes you tend to meet bands with a shit attitude towards their fans and it becomes somewhat disappointing. I’ve met a couple of bands like that over time, but both in Pagan Altar’s case especially, The Black, but even more so, I would argue, with Venom Inc it was an incredible experience. These past 10 years witnessed more than 130 performances by bands from over 20 countries on the Malta Doom Metal Festival stage, some bands even engraving their future from that performance... Yeah, I mean, first of all, the number is quite astounding, I wasn’t aware that we’ve already got 130 performances. Some of the bands have really made well after their performance at the MDM. My associates and I try to keep our eye out for emerging bands. A strong case in point for me was King Witch, I had my eye on the band for some time and I made sure that we try to approach them and rope them in and I’m sure that the band will go far, because their potential is huge. And I think it’s quite a privilege for us to give an opportunity for such bands to get on stage at an international festival. Ok, it’s not a big festival it’s a small niche festival, but quite often we get lots of people from abroad reviewing the fest, we also get labels in attendance, and they’re all on the lookout for this new emerging talent, and yes, with King Witch it was a case in point. Another example is Victims of Creation. After their resurrection, we had them on board a few times at MDM, and on one occasion we had a guy from Cyclone Records in attendance and they were convinced there and then to sign Victims of Creation and they had their first full length album, another important milestone I think. What feedback have you got from band members and how does this make you feel? To be honest, we rarely had any negative feedback or criticism. There was one occasion or maybe a couple, but I won’t go into that. But normally, the bands we hosted have really enjoyed their experience on the island, not just at the festival, but also the island as a whole package. Often staying on the island well after the festival, making a bit of a holiday as well, enjoying the sights and the island in its totality. The good thing about this is that this whole experience makes more bands want to come back to the show. We receive several applications every year, including bands that’ve already played at the festival and they’re sort of really keen on coming back, and we try to accommodate everybody, although sometimes it’s quite impossible to do so, because obviously you cannot make a whole edition, just replicating all the bands you’ve had before. But we never rule out bands revisiting or being re-hosted at MDM. We’ve had that in the past and we continue to do it, but in a small dose so that at the same time you bring in new acts to make it a bit more exciting. I’ve even removed my own bands from the bill several times, because at a point in time Nomad Son and Forsaken had been playing at the festival nearly a year in year out, so at a point in time I said this has to stop. But then we’ve also decided to re-involve Forsaken for the tenth edition. Throughout the past editions there are certainly some episodes, whether pleasant or not, that remain imprinted on the organizers’ minds...... One interesting incident was from last year’s edition*, when we had Doomsday Kingdom, the new band from the godfather of doom, Leif Edling. Leif asked me before the festival if he could use one of my basses. He chose the AIA. He was here together with his family and made a bit of a holiday of it and I also loaned him a practice amp, to practice with it at his hotel room. But then I remember being outside at the festival, watching Doomsday Kingdom come in the van and Leif is coming out, all the band is out and they get out all their equipment but I can’t see the bass, and then Leif came up to me and he told me “damn me, I forgot the bass, damn my memory, I forgot the bass”. I remember Stephen, one of our helpers at the festival last year, he was just sinking in, biting into his piece of Maltese bread during his break and perhaps downing a beer and he had to stop, I had to stop him. I told him you have to get to Qawra and get that bass back. And Leo from Forsaken kindly drove him, but it was a scary and funny incident at the same time. These things happen all the time during the festival, there is a new one every year. Or another one was I remember with Tyson Dog, this extraordinary band, this NWOBHM band from Newcastle and I hope I’m not revealing anything too strenuous, but the guys had drunk a bit heavily during their stay here and at a point in time our helper helping out with the accommodation, Claire, was trying to locate the band, because we had the transfers ready for them, to come to Buskett to come on stage, when she couldn’t find them. Eventually they made their way, and we witnessed a fantastic show. Tyson Dog, a case in point, obviously does not relate to the genre that much, but doomheads, are quite into the whole generation of NWOBHM bands, that inspired doom as well, bands like Witchfynde in general obviously, Pagan Altar and Angel Witch would be another case in point. We’re all really into this stuff and Tyson Dog was a strong case in point of a band not really related to the genre, but getting on stage and really delivering the goods, and another case in point would be Desolation Angels, which was another fantastic show. It is highly renowned what Malta has to offer in regards to both history and environment. How does the MDM project the island? If I had to pin point one word it would be hospitality. So I think we often reflect on ourselves, on our national character, as being a hospitable nation, open to all and ready to go that extra mile to make some person’s visit to the island, whoever it is, a memorable one, and I think MDM really epitomises all this. And the sense of hospitality that we show and demonstrate to bands and also more than that, trying to do things within our limitations obviously, of course there are financial constraints, human resource constraints, to do things as professional as possible. So this professionalism, combined with hospitality, I think makes the event very rewarding for whoever is participating in it, especially those bands making the trip from abroad and the fans too, because we can’t forget the fans, without them the event wouldn’t happen. Today you can look back with pride to where MDM is. What do you think is the main ingredient for the success to such an event and do you think that you have achieved your dream, your goal of what you wanted the MDM to become? In respect to the second part of the question, I think I’ve surpassed my initial expectations to be honest. As to what makes the event so special, the secret ingredient, if you will, is the fact that behind MDM you’ve got a group of people, not profit oriented, doing things voluntarily, just out of their love for the music and their passion for it. And this is what MDM is all about. Passion and love for old school heavy metal and old school doom, to the extent that we lose endless nights of sleep because of it, we could all be doing something else and earning money, which we’re not, so the sense of commitment is the defining element, the sense of commitment, the sense of family, the sense of solidarity, the sense of companionship and true friendship that we forged between us, the organising team, and all the volunteers that help us, all the fans, year in year out, we’ve got people visiting us from Germany, England, Ireland, Holland, Italy, Sweden, wherever. Seeing these happy faces, smiling faces, year in year out, sharing our passion and love for the music. That’s what really makes it all worth it. I mean I always say, as you know, that every year this will be the last year, but after the event passes, and we come down and do the math, but at the same time I always have these recollections of the different editions that we’ve had and the fun that we’ve all had getting these acts to Malta and seeing people enjoy themselves. So this is what motivates us to go on. What are the pros and cons of organizing a festival like the Malta Doom Metal Festival on a small island? The biggest difficulty in terms of the international borders is accessibility to the island, since because of the island’s geographical location; we’re limited in terms of how many people we can attract, given the fact that most people have to get a plane to get to the island. However, at the same time we’re also aware of the huge distances that they have abroad, so for somebody in Northern Sweden, to travel down to Southern Sweden for a gig that would take the same amount of time to come to Malta. So probably, they’re much better off getting a plane to MDM, better weather and cheaper prices. What I’m sometimes somewhat disappointed, and I have to say this, is the lack of……musical education that persists on the island, even amongst the metal scene. So sometimes you get people who would be put off from coming to the festival because of the idea that it’s totally dedicated to doom. Like I said, we always try to address every shape and hue of doom metal, plus also various shades and hues, a whole kaleidoscope of colours in respect of old school metal. It’s very difficult not to enjoy yourself at least with a couple of bands at MDM. But we still have this resistance from people not coming to the festival for this reason or because it is too expensive, or that it’s too far on an island which is basically a pea in the ocean. We had people coming from Japan last year, but we don’t have people coming from …. wherever in Malta because it’s too far. It’s insane. It’s just a 10 minute drive to Buskett. Another difficulty that we’re experiencing now is the over saturation of events. So people are now choosing where to go according to their preferences, which is a good thing, but the over saturation is not helping, because there’s too much going on. Because in Malta we tend to have this tendency of extremes, shifting the pendulum from one side to the other, so for many years there was nothing go on, while now there is too much going on. But the good thing is that most of us involved in the scene, have tried to come together, the promoters especially try to create some sort of calendar which avoids this sort of overlap, so things could improve eventually. So far as the pros are concerned, obviously the proximity that we have on the island helps with transfers, making things not as difficult as they are abroad. The good level of hotels that we have helps with hospitality; the tightness of the doom metal scene is also a huge advantage. We know that we can rely on a group of people that support us, and this really helps. This also spills over the organisation of MDM, because of the whole, as I said before, voluntary aspect to it, which resonates with passion……another good recent development is the attention that we’re getting as well from the public arts sphere, and I think that MDM itself is helping to change all that. There is also this humane element, this community element, this community spirit. Plus there is also the recognition of the impact that festivals like MDM and others are having on the Maltese economy, this creation of a new niche in our economy, music cultural tourism, I could call it music sub-culture tourism, which some people now, both in the public and private sector are even more aware of and perhaps ready to help out, and this for us is a huge milestone, because we’ve come a long way from way back in the late 70s and 80s, because you’ve got long hair and all that. Being stopped in the street to actually being supported by the state, that’s quite a milestone. Every event needs support and help and of course MDM is not different...... There’s a core group of people, obviously there is Noel, handling the marketing and PR dimension, organising initiatives such as this one. There’s Glen Gauci, who’s also involved in the booking of bands and face logistical aspects, a huge asset to the team. James Gauci handles all the financial aspect, plus a myriad, a whole platter of things. I mean, everybody is a huge asset to the team. Otherwise they wouldn’t be in it. There’s Claire Borg**, who handles everything related to lodging and accommodation and hospitality…..and screaming sometimes on end. Then there’s this really vociferous person, Robert, the videographer. He’s really a noisy guy, sometimes too loud, but he’s a great asset as well. Simeon, the drummer from Forsaken, who is also a fundamental part of the team gives a very strong contribution to the core team. He handles and oversees our website, website development, and the management of that, and is also our liaison in terms of graphic design, which is handled by Alexia Baldacchino from Loudpix, who is always done a great job. Simeon is also our drum tech together with Dino, the drummer of Victims of Creation, I also would like to pinpoint the various helpers we’ve had in the past, who unfortunately for their own personal reasons, and we appreciate that, had to move on. Matthew Camilleri for several years, I still miss the guy, a bundle of joy and at the same time still strongly committed to MDM. The guys involved in the very first edition like Gordon Silvio and also Malcolm Borg Galea, he carried on for some years as well, a great help. Then, the witches of Doom that help us year in, year out; Noel’s wife Vica and daughter Emma, James’ wife Carol, Glen’s girlfriend*** Chiara. Then there’s also other persons involved in the logistics on stage, Rex Grech Santucci, who is a great asset. In 2017 we also involved for the first time, Daniel Warrington, and in the past, we had Chris and Julian Grech (both from Nomad Son). The festival’s official photographers, Katrina, and Stefano. Obviously the people at the venue who host us, those who help with the merch, I mean, so many people involved. Headliners apart, is there a band or performance that is still stamped in your mind from the past editions? I value every band we bring to MDM, but I remember one great show that I really enjoyed was that of The Temple of Pain. Being a huge Thunderstorm fan, that show is engraved in my heart. Iron Void are a band that I like a lot and having them in Malta for MDM, they played at both the event itself and also for the warm up show, great band who are going on from strength to strength. Same, I would argue with Arkham Witch, one of my favourite shows at MDM, was the first Arkham Witch show. I mean that was brutal. Another one would be Dawn of Winter. That was in that edition when Sorcerer had cancelled their trip and Dawn of Winter took a step up on the bill to an extensive show and that was a very emotional one; I got tears in my eyes at that show. I also enjoyed Desaster from the last edition. Like I said earlier, we go through all the band applications religiously. Obviously we also have an idea of who we want at the festival, and we go through the discography of all the bands. Most of the bands that we have on board, I would have the discography anyway. So we make no exceptions. Where do you see the festival in 5 or 10 years time? This is a difficult question obviously. Each edition we take stock of what’s going on in the scene, the developments, we have to take into account the financial viability, because all right, it’s not a case of making money, but it’s not a case of losing money either. I think 10 years is already a very long history for a festival. It’s one of the longest serving and longest standing doom metal festivals in Europe, so it’s quite an accomplishment and beyond. Obviously I’d love to carry on and I’m sure that in my absence other people would carry on. But I can’t imagine myself without doom metal; I can’t imagine myself without heavy metal. I would only imagine myself without heavy metal when I’m dead. So possibly I’ll be resting. Maybe listening to Manowar on my way to Valhalla or wherever, or to Venom on my way to hell, but I think it’s unlikely that I’ll give this up in one form or another. *2017 **now Galea *** wife since 2021 interview photos: Katrina from Bloodography

Solidarity with Ukraine On the night of the Russian invasion of Ukraine, musicians Les Claypool of Primus and Eugene Hütz of Gogol Bordello joined forces to collaborate on a joint release aimed at rallying support for the Ukrainian people. Followed by a series of compilation releases from various countries around the world, all with the goal of providing financial assistance to the Ukrainian people who found themselves thrust into the struggles caused by the Russian invasion that began on the morning of February 24, 2022. (It is important to note that the underlying conflict had actually started years earlier, in 2014). The scale of belligerents, casualties, and other losses in this conflict is staggering, and life for Ukrainians has been forever changed. Like any conflict, its repercussions have had significant global effects, but for many of us, it is difficult to fully comprehend the experiences they are going through. Numerous Ukrainian bands and musicians have embarked on tours and projects to financially support the cause. In addition to the collaboration between Les Claypool and Eugene Hütz, notable bands such as Jinjer and Gogol Bordello have announced tours in 2022 and 2023 to lend their support. One particularly significant event is the upcoming 'Lviv Aid' concert on June 24 in Wembley Stadium, named after the Ukrainian city that has been heavily impacted by the war with Russia. The concert will feature performances by renowned bands like The Rolling Stones, U2, Pink, and The Killers. Concerts and events spanning various genres and media are taking place worldwide. On June 20, Gypsy punk rock band Gogol Bordello will be returning to Malta as part of their 2023 Solidaritine European tour, which began in May and is scheduled to take them to the US in July and August before concluding in Europe. Their first visit was in 2018, 30th July, when they played the same venue. Formed in 1999 by a group of musicians hailing from various parts of the globe, Gogol Bordello is a punk rock band based in the Lower East Side of Manhattan. Renowned for their captivating stage performances and unwavering commitment to touring, the band infuses elements of Romani music with punk and dub, incorporating instruments like accordion, violin, and occasionally saxophone into their distinctive sound. Solidaritine European Tour 25 May Glasgow, UK – SWG3 Galvanizers 30 May Osnabrück, DE – Rosenhof 1 June Amsterdam, NL – Melkweg Max 3 June Antwerp, BE – De Roma 4 June Hamburg, DE – Markthalle 7 June Ulm, DE – Roxy 8 June Berlin, DE – Huxleys Neue Welt 9 June Warsaw, PL – Klub Stodola 10 June Poznań, PL – Klub Muzyczny B17 11 June Krakow, PL – Studio Krakow 13 June Frankfurt, DE – Batschkapp 17 June Paris, FR – Élysée Montmartre 18 June Luxembourg, LU – Den Atelier 20 June San Gwann, MT -Aria Complex 22 June Cologne, DE – Live Music Hall Supporting act for the night are Brikkuni, who are frequently acknowledged for revitalizing Maltese sung pop music, and has been making waves since their influential debut album 'Kuntrabanda' in 2008. This genre-defying blend of pop, rock, and punk propelled the band to become a local cult sensation, leading the way for a fresh wave of alternative Maltese music. However, what do these events truly mean to those directly affected by the war in Ukraine or those who have had to flee their homes, leaving behind their normal lives with an uncertain future? To explore this question, we reached out to several individuals from diverse walks of life, all with significant connections to Ukraine, asking them, "How crucial is the contribution of bands like Gogol Bordello, Jinjer, and other Ukrainian bands and musicians in terms of touring and releasing new material, with all proceeds going toward supporting Ukraine?" These are their replies: Liudmyla Tkachuk (Ukrainian, under International Protection in Malta): «Ukrainian bands and musicians play a vital role in representing Ukrainian culture and identity to a global audience. Their music often incorporates elements of traditional Ukrainian music and folklore, helping to preserve and promote the country's rich cultural heritage. By showcasing the uniqueness of Ukrainian music and art, these bands can create a stronger appreciation for Ukraine and its people. It can encourage people to engage with the cause, donate, and take action to help our country. Additionally, it can foster a sense of national pride and unity among Ukrainians themselves» Anna Turanska (Ukrainian, representative of the Ukrainian Community in Malta): "The contribution of bands like Gogol Bordello, Jinjer, and other Ukrainian bands and musicians in terms of touring and releasing new music, with all proceeds going towards the support of Ukraine, is incredibly crucial. Not only do these bands bring attention to the rich and diverse music scene in Ukraine, but they also act as cultural ambassadors, spreading awareness about the country's struggles and aspirations. The funds generated from their music contribute directly to supporting Ukraine's ongoing challenges, such as social and economic development, humanitarian aid, and infrastructure rebuilding, making their contribution vital for the country's progress." Zhenya Fesenko (resident of Kyiv, Ukraine): "The contribution of the bands is invaluable. First of all, for the support for our army, the country's economy, and war victims. Second of all, is the necessity of spreading of information about what is happening in Ukraine and about the scale of the war. This is a reminder that the war is not over and a call to support and help. Such bands carry emotions from their music and at the same time help those who protect their home, their country. It is about rebirth of emotions and experiences through music. It is about our right to creativity and joy despite war and sorrow. It's about unification through music. We can say that musicians also defend us on the cultural front and carry our music to the whole world, while the aggressor tries to destroy us both physically and culturally". John Debono (Ambassador of Malta to Ukraine): During the last year we have seen all kinds of Ukrainian musicians and singers touring every corner of the world and contributing to the defence of their motherland in a different way. Apart from the aspect of support, most importantly is the exposure they give to their country through their performances and the messages they are managing to communicate. Nigel Camilleri (Director NnG Promotions Ltd): Bands with a Ukrainian element in their lineup, as are Gogol Bordello, or who are pro-Ukraine help mainly in promoting what is going on in Ukraine at the moment. Of course there are people who might not agree with them but I Believe what they are doing helps on two levels. Firstly such bands are helping put out the word of what is going on in a language which is readily understood by their fans – which is their music. Sometimes it has seen the band go back to their roots (often punk) and churn out new music in that genre – which is what has happened for example with Gogol Bordello and their new album Solidaritine. Secondly I also believe that it is cathartic for those Ukrainian musicians who are away from their homeland and cannot directly help the war effort by being there – Thus they feel that they are also helping out by releasing music which has a more patriotic tone and also help by organising the raising of funds for humanitarian purposes either as proceeds from their recorded music, live music as well as from merchandise sales. Tickets for the fundraising concert at Aria Complex can be bought here.

There are countless Maltese artists who made a name for themselves abroad. This is the story of one of them. Born on 1 December 1944, Charlie Grima's life has been a testament to his passion for music and his unwavering spirit. From his early beginnings in Paola, Malta, to his current residence in Kent, England, Grima's journey has been filled with remarkable experiences. At the age of ten, Grima's family made the life-changing decision to immigrate to England, settling in Birmingham, where Charlie attended catholic schools until the age of 15. His first encounter with a drum kit occurred unexpectedly when he attended a Toni Martell & The Interns gig, whose drummer, Duke, failed to show up. Grima was asked to step in. He was asked to join permanently when eventually Duke decided to leave the band. In pursuit of his passion, Grima purchased his first drum kit for £80, paying for it over a year. He continued his musical journey with various bands such as The Villains, with whom he did his first tour abroad (Germany), Combined Action, Organised Chaos, The Block and Hannibal. During his time with Combined Action, a young and relatively unknown Robert Plant auditioned to sing with the band. In 1968, Grima took a job as a stagehand and scene shifter at the Alexandra Theatre. His dedication to music and performance remained unwavering, leading him to join The Wellington Kitch Jump Band, later renamed as The Cedar Set. The band toured extensively, including a notable month-long performance at the Hirshen Hotel in Zurich. The year 1969 marked a milestone for Grima when his band, The Ghost, released a single titled "When You're Dead / Indian Maid" on Gemini Records. They followed this with a now rare and collectable full-length album, titled "When You're Dead” in 1970. The band initially adopted the name Holy Ghost, which was later shortened to avoid negative publicity. A second single was released in 1970, but Shirley Kent left the band soon after with the remaining members changing the name of the band to Resurrection which was short lived, splitting with no further releases. Grima joined another band from Birmingham, Mongrel with whom he released ‘Get Your Teeth Into This’ in 1970. During his time in Birmingham, Grima found himself crossing paths with the cream of the city’s best musicians from Black Sabbath to Led Zeppelin and Judas Priest. In 1972, Grima took on a new endeavor by joining Roy Wood's Wizzard. His first gig with the band was the Rock 'N' Roll Festival at Wembley Stadium. On the bill at Wembley was Bo Diddley who later recorded an album titled ‘The London Sessions’ with Wizzard as the backing band. Charlie stayed with Wizzard for three years featuring on all three Wizzard albums: Wizzard Brew released March 1973 on Harvest Introducing Eddy and the Falcons (1974) on Warner Bros. Main Street which was recorded in 1975 but released in 2000 on Edsel Records He joined The Old Horn’s Band before Wizzard’s demise. The Old Horn’s Band played a mixture of jazz and blues. Years later The Old Horn’s Band would reunite for a onetime benefit concert. His introduction to the theatre world happened in 1972 when Charlie auditioned, as a drummer, for the re-casting of David Hare’s rock musical ‘Teeth ‘N’ Smiles’* in London from where an opportunity rose to play in another play…this time in Hong Kong. Throughout the late '70s and early '80s, Grima immersed himself in acting and drumming on stage, participating in plays like "The Fordsyke Saga"† and securing roles in television shows and commercials. In the '80s, Grima showcased his versatility by playing percussion and congas in various pubs. It was at this time that he started playing in pubs playing piano and singing, ultimately landing a few spots on the Variety Night Show. During the same period he went on tour in Germany with the Jive Aces, standing in temporarily for their keyboard player who was visiting Australia. Charlie acted the part of a market trader in episode 20 from the 5th season of The Bill in 1989, while in the 90’s Charlie played the supporting actor in shows like "The Bill" and movies such as "Chaplin," "Henry V," "Frankenstein” (starring Robert De Niro) and “Blue Ice” (which was produced by Michael Cain, who also starred in it). When not in theatre Charlie could be found playing in various pubs and clubs together with Bob Brady. He first came back to Malta since 1955 in 1973 for his honeymoon and again in 2013. In 1988, Grima faced a health setback when he suffered a mild heart attack. In response, he was advised to take things easier. During his recovery, Grima found solace in teaching drumming to blind and partially sighted children. He dedicated 15 years to this meaningful endeavour, sharing his love for music and empowering these young individuals. After undergoing a triple heart operation a decade ago, Grima made the decision to retire. Charlie Grima's story is a testament to the power of pursuing one's passion and embracing the opportunities that come along the way. From his humble beginnings in Paola to his notable contributions to the music and entertainment industry, Grima's journey encapsulates a life dedicated to artistry and perseverance. Charlie Grima’s life can be read in his autobiography published in 2015 by Mirag Publications. *First performed in London in 1975, Teeth 'n' Smiles is a musical play written by English playwright, screenwriter and director David Hare (b. 1947). The play is set around the performances of a failing rock band at the May Ball on the night of 9 June 1969 at Jesus College, Cambridge. † The Fosdyke Saga was a British comic strip by cartoonist Bill Tidy, published in the Daily Mirror newspaper from March 1971 - February 1985 later adapted as a TV series , a radio serial by the BBC and a stage play.

Forsaken are one of Malta’s most established bands and require no introduction. They have exported their brand of doom through Europe and beyond. Formed in 1990 as ‘Blind Alley’, they changed their name to Forsaken in 1991. In the same year they released their debut demo ‘Requiem.’ I can vividly remember, then a student at the Junior Lyceum (Hamrun), getting my hands on a copy of that demo. It took place of preference in my walk man for many months. In 1993, Forsaken became the first Maltese underground act to release a 7 inch single on a foreign label. This came as a result of the band signing to Arkham Productions (France). ‘Virtues of Sanctity’, released in July 1993, included two tracks, namely ‘Where Angels Have Fallen’ on Side A and ‘Confessing My Desolation’ on side B. Recorded during November 1992, the tracks were produced and engineered by Tony Scott. ‘Where Angels Have Fallen’ also featured in their debut demo ‘Requiem.’ This continued to cement Forsaken’s reputation as an emerging southern European talent to look out for. Soon after the band issued a video for ‘Where Angels Have Fallen.’ Shot at Rinella (Kalkara), the video was directed by Alfie Fabri. Looking at the venues the band played after the release of the ‘Virtues of Sanctity’ one can get a bit confused, but that’s how we did it back then, any place was a ‘good venue’. It was all about coming together and having a good time. To name a few .....the Domus Hall (Zebbug), Birzebbuga Sailing Club etc. The band played also at the Harlequin Club (Paceville), prior to touring France and Spain to promote the EP. Forsaken’s line up at the time of recording was as follows: Leo Stivala – Vocals Albert Bell – Bass Kevin Azzopardi – Guitars Daniel Magri (R.I.P. 2001) – Guitars Simeon Gatt - Drums Additional vocals were provided by Roseanne Zammit. The Maltese themed cover was designed by Joel Grevost and photos are by Dino Mangion. Well, ’Virtues of Sanctity’ was just a prelude for Forsaken. The band never looked back, reaching new heights ever since. References: Times of Malta, August 27, 1993 page 17 https://forsakenmalta.com/album/virtues-of-sanctity/

Since its inception in 2007, Earth Garden has garnered a reputation as one of Europe's best-kept secrets. Situated on the idyllic island of Malta, it has been twice voted among the top 20 festivals on the continent. Earth Garden boasts an array of five distinct stages that cater to the diverse tastes of music enthusiasts. From Hip-Hop, House, Techno, Psychedelic Trance, and Drum and Bass to Ska, Dub, Funk, Reggae, and World Music, there is something to captivate every music lover. In addition to the impressive lineup, the festival offers daily workshops and discussions in the Healing Fields, an Ethnic Market, and a Kids' Fun Park to ensure everyone stays engaged and entertained. To satiate hunger, a wide variety of food vendors are available to provide nourishment. With its inclusive nature and international influences, Earth Garden serves as a melting pot of cultures, transcending age barriers. As Malta's largest alternative festival, Earth Garden takes place annually on the first weekend of June at the picturesque Ta Qali National Park. Festival programme (printed version of the programme shall be available at the festival) A special edition of Noel Mifsud's Rock Moods featuring interview with organiser Nick Morales can be listened here on Melodija.eu

Sadly, on the 24th of May 2023 the undisputed Queen of Rock ‘n Roll took her final bow at the age of 83, after a long illness. Born Anna Mae Bullock, in Tennessee (U.S.A.) on November 26, 1939, she was known to the world as Tina Turner. Rising to prominence as part of Ike & Tina Turner Revue in the late 1950’s, she never looked back, rising to stardom as a solo artist in a career spanning till a few years ago. Her list of hits is too long to mention. Apart from being a performer, Tina Turner was also a renowned songwriter, dancer, actress and author. She had been living in Switzerland since 1994 and in 2013 Tina Turner received Swiss citizenship after relinquished her U.S. citizenship. In 2008 she made a comeback as regards to live performances, when aged 69, Tina Turner performed more than 90 shows to celebrate her 50th anniversary in music. For us Maltese, especially the ones that attended, the performance that will remain in our hearts will surely be that of 30 August 1990, when she performed for the first and only time in Malta. This was the concert that opened the way for major artists to start visiting Malta. This would not have been possible without the patronship of the Government, through the Parliamentary Secretariat for Youth & Culture, and numerous other private sponsors. The tickets, at LM6.25 and LM4.00, soon sold out and more than 22,000 punters filled the Independence Arena (Floriana) from early afternoon, on that faithful Thursday. The concert in Malta was organised as part of Maltafest and formed part of The Foreign Affair Farewell Tour. This tour, her seventh, was organised to support her studio album Foreign Affair (1989). It started on April 27, 1991 in Antwerp (Belgium) and winded down on November 4, 1991 in Rotterdam (Netherlands). The backing band for this tour was something to behold on their own right: Jack Bruno on drums; Timmy Capello on sax, keyboards, percussion and harmonica; John Miles on guitar and vocals; Kenny Moore on piano and vocals; James Ralston on guitar and vocals; Annie Behringer and Lejuene Richardson as dancers and backing vocalists. Tina Turner was 51 years old when she performed in Malta and the two hours set included the following songs: 1. Steamy Windows (Tony Joe White cover) 2. Typical Male 3. Foreign Affair 4. Undercover Agent for the Blues (Tony Joe White cover) 5. Ask Me How I Feel 6. We Don't Need Another Hero (Thunderdome) 7. Private Dancer 8. I Can't Stand the Rain (Ann Peebles cover) 9. Nutbush City Limits (Ike & Tina Turner song) 10. Addicted to Love (Robert Palmer cover) 11. The Best (Bonnie Tyler cover) 12. I Don't Wanna Lose You (Albert Hammond cover) 13. What's Love Got to Do With It (Graham Lyle cover) 14. Let's Stay Together (Al Green cover) 15. Proud Mary (Creedence Clearwater Revival cover) 16. What You Get Is What You See 17. Show Some Respect 18. Better Be Good to Me (Spider cover) 19. Be Tender with Me Baby Her performance and interaction with the crowd was infectious, resulting in rapture applause after every song, especially the best known ones. Tina Turner’s concert was the prelude of many great the events we lived to witness. The Queen is dead............long live the Queen!

It is more than appropriate to declare right from the start that this is not an objective review. I have never attempted to write one and though I tried my best to keep objectivity afloat, my judgment is clouded by the adulation I have, especially towards two of the bands that performed on the night, namely Blut and Viper Soup Complex. When I decided to book a ticket to Milan my soul objective was to support Blut on the debut of their album ‘Traum’. Little did I suspect that a Maltese band would be hitting the stage on the same bill. I fist came across Blut when they performed at Dark Matla Festival in 2022. Had the pleasure to perform on the same bill with them when Damaged & Co. played in Rock In Park (Milano) in the same year. When I heard through the grape vine that Viper Soup Complex were performing on the night I was a very happy man. Situated on the outskirts of Milano, Legend Club is one of the main venues that city has to offer. During the month of May and June tens of bands play in nearly daily events organised under the moniker of Rock In Park. Hades Management, for the past years, have collaborated and staged an event featuring bands on their roaster. This is a very good opportunity for Maltese bands to play in Italy. The show in question was held on 14th May 2023. The weather was quite cloudy with the occasional shower from time to time, but nothing like the freak storms that were going on in Puglia. First to hit the stage were the Maltese progressive, avant-grade rock band, Viper Soup Complex. It is never easy to open the night, let alone to do it in a foreign country were most of the crowd is not familiar with your material. It did not take long for the quality of the musicianship and the front woman’s stage antics to win over those present. Most of you reading this are familiar with their line up but for the sake of posterity the band is made up of Annemarie Spiteri (vocals), Michael Spiteri (bass), Melchior Busuttil (drums), Glenn Sultana (guitars) and David Ciantar (keyboards). Opening with Turquoise on Mars, from their debut Red Fugue (2018), the band continued with Tetrahedron Paradise, followed by The Well In The Labyrinth. The well received set came to a close by Stellar. Two of these three songs will form part of their much awaited second release. Four songs might seem like a short set list but if you are familiar with the band you’ll know that they take no short cuts and their compositions clock up quite a few minutes. Mind you, there was never a dull moment. The band gave their all and were greatly appreciated by the crowd. This was the second date for Viper Soup Complex in Italy as they performed at the Metal Queens’ Burning Night festival in Turin on the eve. Martyrium performed at the same festival on the 12th May 2023. Viper were followed by Italian symphonic /power metal act Eternal Silence. Formed in Varese in 2008, the band’s current line up is as follows: Marika Vanni (vocals), Alberto Cassina (vocals / guitar), Alessio Sessa (bass), Martino Boneschi (guitar), Katja Di Giulio (violin) and Lorenzo Aimo (drums). Lorenzo Amio replaced the original drummer Andrea Zannin and this was one of his first live performances with the band. The female and male vocals formula works great with this band and the violin player adds more melody and impetus to their songs. Their set included material from their three albums, namely Timegate Anathema (2021), Mastermind Tyranny (2017) and Chasing Chimera (2015). Songs such as Dreambook, Ancient Spirit and Firefly were among the crowd pleasers. Up next were Blut, who were celebrating the launch of their album ‘Traum’. This band knows its inception as a project of artistic expression by Alessandro Schümperlin, who happens to be also an established author of the steampunk genre. From a one-man studio project it evolved into a full fledged band. The line up has been through many a change and for this album, and performance, was as follows: Alessandro Schümperlin (Vocals), Chiara Manese (Vocals), Antonino Sidoti (Guitars), Bruno Tortora (Bass) and Stefano Morelli (Drums). Schümperlin and Manese compliment each other perfectly and balance each other out, one incarnating beauty and the other the beast. I let it up to you to sort out who’s who. Their show is complemented with theatrics, props and numerous costume changes. As expected, most of the songs performed on the night were taken from their new album ‘Traum’. Starting off with Premonition, the band then launched into Wie Geht Es Dir (Traum), Alpha, Auspizium, Seele and Du Bist Nicht Da. The musicians left the stage leaving only guitarist Antonio Sidoti to accompany Chiara Manese in delivering Alchemical Passion. Manese’s angelic voice shone trough and glided on the gentle notes provided by Sidoti, making justice to the only ballad on ‘Traum’. After, it was Schümperlin’s moment in the limelight when the band came back to perform The Magician, taken from their album ‘Hermeneutics’. Manese came back on stage in a white dress, followed by a menacing looking Schümperlin, yielding a knife. The last song performed was How can I kill her?, from their ablum ‘Inside Your Mind’ and the set ended with beauty as a victim of the beast. Well Manese was soon resurrected and on the feet to received a well merited applause from the crowd present for the show. The day came to an end with a great performance by Italian Gothic Metal band False Memories. Formed in 2015, like many bands they have had a few line up changes along the way. The current one being as follows: Rosella Moscatello (vocals), Emanuele Cossu (drums), Moreno Palmisano (guitars), Dave Tavecchia (bass) and Francesco Savino (guitars). The band delivered songs from their three albums ‘Live Until the Twilight’ (2022), ‘The Last Night of Fall’ (2021) and ‘Chimerical’ (2019). They also performed singles released from their upcoming album like Rising Tide and The Storm Inside. On the album the band collaborated with, former Nightwish singer, Anette Ozlon. Their tight and enjoyable performance closed the night. This was an experience I shall cherish.Watching Blut and the other Italian bands would have been excellent, but topping it up with compatriots Viper Soup Complex was really the cherry on the cake.On to the next.................

If It’s Pop(Ular) It’s (Not) Cool - Out Now! They don't do house, but they like to party - Massacre House Party are a surfy garage, post-punky, indie rock band who've been charming the tiny sunny island of Malta with their catchy, body moving tunes.Coolness has never been so proud to have as its ambassadors a trio,who joined forces even unknown to their good selves, to play a stringof memorable live shows and unleash blistering, poppy singles to the people out there, as long as they enjoy themselves too. 2023 will seethe digital re-release of their CD only collection of 2011 - 2015 singles "If It's Pop(ular) it's (Not) Cool"through Kewn Records; Now also featuring their last outing "The Highway"! After a couple of years (2011 - 2014) with Sylvan Borg on guitars and Aaron Sammut on drums playing together as The Sylvan Aaron Massacre,alongside an inanimate click track and several layers of plastified synths, the band decided that they needed the helpful hand of Samwel Mallia (2014 - ), who through quick picking and slick fingering (on bass), the duo-now-trio became known to mankind as Massacre House Party. Check out the EP on our bandcamp and get a free download of ‘Love This City’ here.

On Monday 8th May many wrote posts on social media portals that this was by far the best edition yet. Well they’re not wrong! During a recent interview I did with organiser Nick Morales, he expressed and hoped just that! Nick and his group (not the many musical ones he plays in) worked hard so this edition tops the other nine. Because yes, this year’s edition was the 10th and although every year is special this had to be the one. From a humble 4 band event back in 2011 it grew each year into a three day festival with more 40 acts (2023 edition). As Nick related during the mentioned interview, the festival was created as an event to host Italian band Aim during their short tour on the island. It was aptly called Rock The South, held at Zion Bar & Restaurant in St. Thomas Bay, Wied il-Għajn. The place, just like the festival, has undergone many changes since and developed into a first class place to relax and eat. There was always one drawback regarding Rock The South, especially when it started growing: although the acts play back to back (except those performing in the silent disco) it is very hard to keep up watching all the bands for three days. Unfortunately I missed some as well, while others I heard from elsewhere in the festival area. Friday 5th May doors opened at 5.30pm and although the lineup featured only 7 bands split between both stages (plus 4 other acts in the silent disco), the choice was excellent. Probably the idea to have a shorter day was due to the fact that many were still at work, or returning from work at the time the doors were opening. Roza were the first band at 6.30pm followed by Cher Camilleri, Kym Pepe and Michael Azzopardi, whom I have seen for the first time performing backed by a band. Although the music was different from that recorded it was up to a very good standard, and like the other bands before there’s always a note in mind to check from time to time for future live performances. After Michael Azzopardi, it was time for two giants in the local alternative music scene, The Areola Treat and The Beangrowers, both bands that I have not seen perform in a while, but still managed to put on the vibe they did when performing in their early days. This year’s festival boasted three foreign artists, with the first headlining Friday. Bo Ningen were formed in London in 2006 by four musicians from Gumma, Tajimi, Nishinomiya, and Tokyo, who united in the UK. This was their second time on stage at RTS, their first being in 2019 and once again they released a set full of energy and precision. In the meantime, from 8pm the silent disco offered an alternative to live music with sets from Radju Haj, The Violent Violets, Alias 1 and Estranyesa. And if Friday was a fantastic start to this year’s edition, Saturday proved to be another great day. First band on was Edgar Allan Paul on the Jagermeister stage, followed by The Velts, Beesqueeze and the return of Massacre House Party after five years since they last appeared on stage at the Farsons Beerfest of 2018. MHP also released an EP titled ‘If It’s Pop(ular) It’s (Not) Cool just 24 hours before their appearance at 7.45pm on Saturday. Followed by yet another reunited band Shoshtakovich’s Nightmare with an interesting (to say the least) set they are famous for. The last time I saw them perform was when the band supported Therapy? At Sky Club back on Thursday 30th April 2009, (the other Maltese band on the night supporting the English outfit were The Areola Treat). Shoshtakovich’s Nightmare were followed by the Italian band AIM. As Nick confessed during our interview, they were an automatic choice, being the band that ‘gave birth’ to the festival. Rumours say that the band were on a hiatus but got together to perform RTS on the insistence of Mr. Morales…. Brodu followed with a number of songs covering their ten year history. Last band of the day, Leeds alternative rock band Pulled By Horses lived up to their reputation of explosive live performances. Formed in 2008 they boast 5 studio albums, their latest Reality Cheques released September 30, 2022. With the crowd amazed by what they have just witnessed (and with a question on everyone’s lips: What would Tom Hudson (vox) have done had the microphone been cordless?), some made their way to the silent disco, open from 8pm and featuring sets by Black Plague, Spots And Stripes and a DJ set by UK artists Zkeletonz. The sun shone brightly on Sunday morning, and we made our way early towards Marsascala. After an excellent meal at the venue’s restaurant we headed inside the festival area for a beer and some time to chill before the first band hit the stage, The day was opened on the Jagermeister stage with an energetic (as always) performance by up coming band Morsrot, followed by extreme metal supergroup Niket. The brainchild of Nicholas Bonello from a lingering idea he had for some years Niket came into existence circa 2020. In October 2021 a self titled EP was released on Kewn Records with a video following soon featuring Tryst Arcane’s Alexia Baldacchino and David "Beast" Fenech from Loathe. Last Sunday was Niket’s debut live appearance and apart from the two singers and Nicholas the band featured Haine and Abysmal Torment’s Claudio Toscano on bass while Krishna’s drummer Alan Darmanin (also with Skorch). After these two dynamic acts, the crowd was treated with the progressive fusion rock sound of Ferret, who released a single (performed also on Sunday), just a few days prior to the festival. Ferret were followed by thrashers Grotium with an explosive show that only Grotium are famous for. It was then time for Prog rock giants Mirage to hit the stage, playing on the Jagermeister Stage under a hazy sky, the band delivered a set taken from their first two albums ‘For Absent Friends’ released in 1982 and ‘Garage Technology’ from 1987. A more heavier sound followed Mirage with Dalam and Five Years From Now, before it got a bit slower with the stoner doom sound of Hemplifier, who shall be releasing their debut album ‘The Stoner Side Of The Doom’ in June. Next band on, Krishna managed three songs (their latest release Headless is composed of a 50 minute track), followed by Haine, BILA and Club Murder, who played on the Cisk Stand. Back to the Jagermeister Stage the evergreen BNI wowed everyone who could manage to squeeze in front of the stage. Then back to the Cisk Stage for the last band of the night and the festival - Beheaded who were back on a local stage after five years. Their last performance on Maltese shores was during Notte Bianca 2018, and as many expressed in their posts it was worth the wait. Still breathless and amazed after a day to remember, especially if you’re a metalhead, many made their way to the silent Disco area where we were greeted by the tunes selected by DJ Hades which reminded us of yet another great festival we attended a few weeks ago. Other artists during the day in the silent disco were Tina, CHILD, GhꚚsꝉꝉ and Hanek. Apart from the snag, mentioned earlier, that it is impossible to follow all bands, this year’s festival revealed two problems that should be given some consideration. The Jagermeister Stage was a huge improvement from last year’s, but the area in front is too small for many bands, with people moving to other areas of the festival due to the crowdedness, but let’s be honest, unfortunately, and as much as I hate to say it, the grounds are getting too small for the festival and should really be taken into consideration when planning the area next year. The other problem, always in my opinion, was the merch stand. With over 30 bands and the festival’s merch I believe the stand this year was very small, and all went well thanks to the dedication shown by the personnel taking care of it. Still this does not cloud the fact that this year’s edition, the tenth, was in fact the best one so far, promising a very bright future to this festival which was born from humble origins, well we can all admit (as Nick did in our interview), thanks to AIM for playing on the islands back in 2011. The bands performed, but a huge kudos goes to all those behind the scenes, the staff and anyone who made last weekend a magical one. Let the countdown start for number eleven!

I start this off with a confession. I am not a Eurovision buff, so any mistakes are due to my gross ignorance on the subject and are regretted. For most people I know, rock/metal and the Eurovision are in a love/hate relationship, while others state that they do not follow the event, yet somehow end up commenting on it. Like every issue where Malta is concerned, the majority treat it as a crusade and get very hot under the collar when the voting ends............neighbours, bloody neighbours. The European Aspect.................. One of the first bands to fit in the rock/metal equation that participated in the festival was the Norwegian glam metal band Wig Wam, way back in 2005. The Nordic countries seem to have an affinity with exporting their bands to the Eurovision and in 2008 it was Finland’s time with Terasbetoni. In 2006, Finnish metal band Lordi, drew first blood and won the Eurovision with their song ‘Hard Rock Hallelujah’. This caused quite a stir but was very well received. Lordi performed this song as part of their set at their concert at Aria Complex on 31st March 2023. This was their first time performing in Malta. In 2009, Alexander Ryback, who represented Norway, won that year’s edition with a metal sounding song entitled ‘Fairytale’. He made a comeback in 2011 fronting the band Keep of Kalessin. In 2018, metal / post-hardcore band, AWS represented Hungary. Unfortunately, Ors Siklosi, their front man, passed away in February 2021 at 29 years of age. A year later, in 2019, Iceland were represented by techno-punks Hatari. In 2021 Finland were represented by nu-metalers Blind Channel but the year will remain synonymous with the Italian rock band Maneskin, who triumphed with their song ‘Zitti e Buoni’. Attempts to tarnish Maneskin’s reputation with allegations that they were sniffing cocaine in the green room failed miserably. Like their front man, Damiano David, rightly exclaimed: “Rock ‘N Roll never dies!” The local aspect................. Malta has never won the Eurovision Song Contest............ or as some say, we were cheated out of winning the contest.......... Also, our country was never represented by a metal band per se, the closest association being pop-rock and soft-rock. Digging deep enough one can find that some of the singers that represented Malta in the Eurovision Song Contest have a background in the local rock and metal scene. Let’s start chronologically. In 1991, Paul Giordimaina and Georgina won the Malta Song for Europe, and the right to represent Malta, with their song ‘Could It Be’. Georgina Abela (nee’ Sammut), way back in 1984, fronted hard-rock band Overdose, replacing their singer, Miriam Spiteri. In 1993 it was William Mangion’s time to triumph with his song ‘This Time.’ Mangion started his career in the 1970’s fronting bands such as Slug and Split. In the 1980’s he joined Exit and after Getting Closer, who he left in 1992 to pursue a carrier as a solo artist. In 1994 it was the turn of Moira Stafrace and Christopher Scicluna to win with their song ‘More Than Love.’Personally, I consider this as one of my all time favourite entries. This rock ‘n roll couple formed their duo in the 90’s, working under the name of Chris & Moira. Sadly, Chris passed away in February 2022. Moira keeps the flame alight with her participation in selected events. Mike Spiteri triumphed in 1995 with the song ‘Keep me in Mind.’ Spiteri has fronted rock groups since the 1970’s and made his presence noticed during the 1980’s with bands such as Stratkast and Mirage, prior to following a career as a solo artist. One of Malta’s most beloved singers (with a connection to the metal scene) to represent Malta in the Eurovision is Ira Losco. She participated twice, namely in 2002 with ‘7th Wonder’, placing 2nd (Malta’s best ever result, together with Chiara’s 2005 entry ‘Angel’), and in 2016 with ‘Walk on Water.’ Ira Losco fronted local rock band Tiara before launching her solo career. Another connection, may seem a bit far-fetched, but notwithstanding exists. Ira Losco features as guest artist on, (local black metal band) Martyrium’s 2002 album, entitled Withering In Voluptuous Embrace. Precisely on track 7 – ‘Promises.’ The same track features also an appearance by Marvic Lewis, known also as Indigo, of Indigo-Darkpsych fame. Though never winning the Malta Eurovision Song Contest, Marvic has participated several times, both as a solo artist and in duet with her sister Olivia Lewis, who triumphed in 2007 with the song ‘Vertigo.’ What’s next............ Metal hopefuls, in 2023’s edition, will be rooting for German industrial metal band Lord of the Lost, with their song ‘Blood & Glitter.’ They too have a connection to Malta as they participated in 2019’s edition of the Dark Malta Festival. This year the Maltese shall be rooting for The Busker, who won the Malta Eurovision Song Contest 2023, with their song ‘Dance (Our Own Party)’. Best of luck from melodija.eu team.

Interview with Mark ‘Storm’ Micallef carried out by Keith Muscat The older you grow the more you reminisce the days gone by, especially the misspent youth. Dial-up internet in Malta was introduced in the mid-1990’s, before that you either had to make do with what you found on the rock or else go through the whole process of mail-ordering from a catalogue. We did not miss what we did not know, so it was business as usual for us to save some extra liri and try to get the latest t-shirt or some other merch. Apart from some well established shops that provided us with lp’s, casettes and later cd’s, there were a couple of stands at il-Monti and tal-Cassettes (City Gate), from were we used to buy our fix. The first proper shop catering for rockers and metalheads was The Rock Shop way back in 1990’s. I had the opportunity to carry out a short interview with Mark ‘Storm’ Micallef, who together with his brother Phil were much involved in the scene at that time. Having the opportunity, I could not miss out on asking Mark about Brainstorm, Storm and Storm Records. The Rock Shop On Saturday, 9th July 1994, Gozitan Hard Rock Party Leader, Patrick Grima (Ħanfusa) inaugurated The Rock Shop, in Theatre Street, Valletta. Mr Grima (RIP 1957-2019) was quite the character. In fact, few months before he stormed the Victoria Local Council Election and got elected on first count. The Rock Shop was, and I think still is, the only shop that was exclusively dedicated to rock and heavy metal in Malta. The shop used to stock cd’s, cassettes, albums, singles, videos, t-shirts, jewellery, caps, posters, books and other items. KM How did the idea of opening The Rock Shop come to mind? PSM As my brother (Phil Storm) and I always loved the rock scene (and still do) we wanted to open a business that was sustainable, and at the same time a passion of ours. In the days, it was very hard to find rock merchandise and various rock/ heavy metal/ death metal etc albums, we therefore decided to divert from running a Hi Fi shop into a music store specializing in various types of Rock Music The Rock Shop did not only serve its economic purpose, it because a sort of hub for the local rock/metal community. I can still remember ads for wanted musicians or musicians searching for bands, gig posters etc. Was this part of the raison detre behind The Rock Shop? In a way it was, as we are also musicians, we wanted to help the rock scene in general, however we could. If I am not mistaken, the shop shifted from Theatre Street to one of the arcades in Republic Street before calling it a day. When did The Rock Shop close for good and how do you describe this journey? We started off at Regency House arcade in Valletta selling Hi Fi, and over the years, we then started also diverting to Rock Music and merchandise. Further to that, we then closed the shop and opened a new shop ‘The Rock Shop’ on Old Theatre Street focusing only on Rock. It was enough to keep the business going. Storm Records Another brave move was the setting up of Strom Records, with the aim of giving local bands a chance to achieve local and international success and recognition. When did the venture start and what did it entail to start record company? We started ‘Storm Records in the mid 90’s. At the time I also had a recording studio. Through ‘Storm Records’ we also managed a few local bands and helped promote their music overseas, on the other hand, through the recording studio, we recorded various local bands, ‘Storm Records’ eventually produced and released a few albums and some compilations with a selection of Maltese bands. In 1995 Storm Records released several compilations featuring the cream of Maltese rock/metal talents. “Eruption” and “The Storm has begun”, in my opinion still stand the test of time and stand as witness to the bubbling talent in the 90’s. Eruption featured bands on the hard rock side and included the bands Cry (Permanent High), Limestone Kick (Lola), Blade (Faith), Nightwing (Inferno), Brainstorm (One Eighty Seconds), Different Light (In The Grey), Purple Haze (Helping Hand) and Fatal Aggression (Eternal Sleep). The storm has begun leaned more on the heavier side and included Norm Rejection (Trance Upon the Chessboard), Trial By Fate (Once Upon a Time), Beheaded (Vae Victus), Forsaken (Moon Dancer), Sanity (The Insane’s Tale), Masada (Redemption), Orbus Vitae (Lament of the Disturbed) and Amentia (Charms of Mysticism). These were followed by another two compilations in 1996. “The Core of Creation” featuring Thera (Sin or Die), Dirt (Fresh Blood), Obscurity (Obscurity), Sceptocrypt (Oratorio Mortem), No Name Yet (In Your Face), Norm Rejection (Where’s the green?), Subtraction (Humanity Undone), Mystic Pearl (Let the Leaders Fight) and Victims of Creation (Lotions and Potions). “Illusions” included Jane Air (Act), The Koyl (Come), Juicy Affair (Lady), Wex (Damn), Grip (One Life), Dreamscape (The Fall), Wildflower (Love & Reality), Rubber Souls (Before I forget), Purple Haze (No More), Brainstorm (Mushroom) and Storm (Hard Dreams). It must have been quite a feat to coordinate all the bands and a lot of sleepless nights till the final product hit the shelves. What do you cherish most from this experience? It was an amazing experience. In the 90’s it was so difficult for a Maltese Band. Instruments cost a lot of money, recording in a studio and releasing a CD was a dream for many rock bands. We therefore decided to do our utmost to create opportunities for the rock scene, and the 4 compilations we put together gave good exposure to those featured on the albums. The recordings for the compilations took place in my recording studio ‘Storm Studios’. Of course, it was a very challenging experience to put it all together, however once we released the material, it was well worth it. In March 1996, Storm Records opened a new recording studios in Salina (l/o Naxxar). The studios were equipped with the latest state-of-the-art technology and services offered included cd pressing, tape duplication, production, artwork, printing and mastering services. What were the greatest satisfactions and delusions whilst the studios were in operation? Working in the studio with a lot of young talent was an amazing experience, although it was very hard work. It brought great satisfaction to us, and at the same time to the bands. I am correct to state that you were not alone in this venture? At the time I was working in the studio with producer Boris Cezec. Once the material was recorded, we used to send it to London to be digitally mastered and to press the CD for the final product. Brainstorm Love them or hate them Brainstorm hit the ground running from day one. A lot of emphasis was focused on the music but image, branding and showmanship were important ingredients for the band. The initial formation, in 1986, included J. J. Axe (guitar), Mark Storm (vocals), Phil Storm (bass), Martin Debono (guitar) and Bobby Calbion (drums and percussion). What can you tells us about how the band got together and the early years? We got together in 1984, the original line up was Mark Storm on vocals, Ivan Filletti and JJ Axe on Guitars, Martin D.Bono on Bass and Bobby Calbian on the drums Where there any line up changes at the early stages of the band? Later on, Ivan Filletti departed and Martin B Dono shifted from bass to Guitars, whilst Josef Petroni joined on bass as a session musician for live gigs until Phil Storm was eventually introduced as the main bassist. During the late 80’s and early 90’s it was not unusual for bands to play at, what today, we would consider unconventional venues, such as small local theatres and the sound systems were not that great. Do you have any experiences you wish to share? Unlike today, in the 80’s and 90’s, in order to perform a concert, we needed to rent a hall where we could perform from and organize a concert from scratch. This meant, we had to rent a premises, rent a sound system with an engineer, rent the lighting system, print out own marketing material such as posters, concert programs, tickets and so on. The biggest challenge was that we then used to have to go out, meet friends and sell our own tickets, at the time was also used to market the concert stating that tickets could be purchased from the Rock Shop or at the door. Keep in mind, that at the time Social Media did not exist, therefore we had to do everything ourselves. What was the average attendance for gigs back then? In those days, we used to have anything between 400 and 500 people attend our self-organized concerts. Playing in festivals with a number of different bands, sometimes used to attract larger crowds. Ever innovative, Brainstorm in 1988 decided to release their first ever video as a publicity stunt towards the release of your first L.P. The video for “Chained to the Wall” was banned from local television as it was deemed as ‘a bad influence to the public’. What was the issue all about and how was the matter resolved? Did this project include a collaboration with Krokus vocalist Marc Storace? AS you know, the mentality in Malta has changed drastically since the 80’s, our video was banned because at the start of the video, we had a girl who was wearing a slightly see-through night dress, this raised a lot of eyebrows. Mark Storace had eventually featured on the title track for the Video ‘Chained to the wall’ The video for “Chained to the Wall” was eventually remixed and re-released in 1989, with footage of a live concert that was held at Axis as part of a charity campaign for muscular dystrophy. What memories do you have of that concert and was Brainstorm involved in other charity campaigns? Brainstorm released the video at Axis, it was a totally amazing concert, it still brings back great memories. Brainstorm was involved in other charity activities, one in particular was a live performance at the Manuel Theatre in Valletta. As far as I could remember, we were the first and last rock band to ever play over there. Another strange incident happened in April 1988, when Brainstorm were participating in a concert at Vibes and somehow someone managed to creep into the band’s dressing room and deliberately damage the drum kit and guitars. What are your recollections on this episode? Ha ha, yes, this was a festival, there were a selection of bands and some bands rivaled other bands. Moments before we hit the stage, someone managed to tamper with the drums, the guitars which were fully tuned, strangely enough were no longer in tune, and the firebombs we prepared for the start of the concert no longer functioned. At the time, it was a very stressful moment, however today I laugh about it. In 1989 Mr Philip Fenech took over the management of Brainstorm from Mrs. Micallef, who had seen the band emerge from nowhere to become on of the best bands for 1988. This came after the release of “Brainstorm Unchained”. How did this change effect the band? Philip Fenech took over as manager, Philip is a great man, but also a business man with much less time than what Mrs. Micallef had. We did a few gigs with Philip as our manager, however the passion and dedication Mrs. Micallef had was second to none. Brainstorm participated in a lot of events is there any concert/gig that you hold above the rest? Probably the first ever gig we played as Brainstorm would be above the rest. This was on 22nd March 1986 at The Scouts HQ in Floriana. This was our first public performance, and we did not know what to expect. The turn out was tremendous, the amount of people who attended stunned us, we never expected to have a totally full house. We literally played our hearts out. The feeling was magical, and the crown joined in from beginning to end making the atmosphere electric. Phil Storm and yourself left the band in the third quarter of 1990. The rest of the band decided to continue working under the same name and seek replacements. I am not going to ask about how this effected you. Let bygones be bygones. You moved on to form Storm. Can you give us some information on this band? Yes, although we never fell out with the band, we eventually departed Brainstorm and formed the band ‘Storm,’ Soon after, I recorded my first ever full-length CD titled ‘Another Day ‘In fact I have just recently uploaded it on Spotify. The album Storm ‘Another Day’ featured several session musicians on various tracks and some guest singers featured for the track ‘Crime of Innocence.’ We also recorded a video for the hit track ‘Naked in the rain.’ This album was a great success and was also nominated in the Malta Music Awards. We performed a string of concerts after releasing the album at Axis After Storm folded it seems that you put your musical career on a hiatus. Is there a chance that we will see Mark Storm back on stage any time soon? That’s a good question, after so many years, I have decided to get back in the game. I am currently planning to record another album by ‘Storm’ we have already started writing some tracks and its sounding great. I guess you will have to wait a little until I can say more on this subject. (Photos for this interview were provided curtesy of Mark ‘Storm’ Micallef)

Doors to this year’s edition of Dark Malta opened at 14.30 on a gusty Friday afternoon on the 21st April, making the main room at Gianpula a much-desired refuge. But the crowd was not there to shelter from the weather outside, it was there to witness one the best editions of the festival so far. The weather came to its senses by the time Friday’s headliners finished, the wind nearly dying completely, promising an amazing weather for the remaining two days. DJing in the main room was different each day and duty fell to DJ Toty for the first one. A return behind the deck after an absence of four years, in fact his last appearance was on the second edition of Dark Malta in 2019. A triumphant return with an insane set filling in between bands till the headliners hit the stage. The festival was hosted by Eric13, guitarist and backing vocals with American aggrotech / industrial metal band Combichrist. The festival could not have had a better host. Having already awed the audience during last year’s edition with an impeccable acoustic solo set on Sunday afternoon and performing with Combichrist later on in the evening, his appeal and charisma this year was spread throughout the three days, during which he interacted with the bands and audience alike, on and off stage and throughout the whole festival area, without showing any signs of tiredness especially during Sunday, the last day of the festival. Eric13 has just produced a play titled BOWIECHURCH: Scenes of a Rock’n’Roll Life which explores the phenomenon of how the music of David Bowie has been present at some of the most important and most terrifying moments of ERIC13's life. When it came to live acts, the festival was opened by locals Damaged & Co. The band is already synonymous with the energy their music delivers, and fresh from supporting Lordi a few weeks ago, the band showed they were still on a hype. Their nine song set-list featured eight tracks from the debut album released 'Life's Grand Delusion' released last February 16th and 'Broken Fields' taken from their self-titled 2022 EP. The first day of the festival also saw performances by Lost Reality, Normoria, Chontaraz, whose guitarist Akon was gentle enough to concede us an interview, which shall air in the coming weeks on Heatstrokes (now can also be heard on Melodija.eu), Dark, L’Ame Immortelle and headliners of the night Swedish outfit Deathstars. The second day of the festival, Saturday 22nd April, commenced earlier with a rooftop pool party from noon onwards, with music provided by Thenia AF., while in the main room legendary Reptile DJ Vade Retro amused everyone with a very professional set. The first band on stage was Instant Lake, followed by Juggernauts, DSTR, V2A, Empathy Test, Icon Of Coil and headliners for the second night And One, German new wave/futurepop/EBM band who replaced Blutengel on the eleventh hour, when the latter had to cancel due to medical reasons. Once the band completed their set, it was time for the afterparty with DJ Yami Speechie and the festival organizer DJ Hades playing tunes till 4am. Sunday opened, like Saturday, at noon with the Batcave Boys who pampered all those who braved the hot sun dancing by the pool. In the main room DJ Jasmin Evilution presented an outstanding set between the bands, starting with newcomers Mal Di Luna from Trieste, followed by local project Ancient Remains performing ‘Icy winds of Sarkesh’ and ‘Midnight Procession Pt 1 and Pt 2 from Unearthed EP released in 2021. Also, on the set-list: ‘Cavern of Solitude’, ‘A Sorcerer’s Tale’, ‘Transylvanian Hunger’, ‘Journey to a distant land’, ‘Of Beast and Man’ and, ‘Danse du Champingnon’. Ancient Remains act was accompanied throughout the set with the choreography of Irish poet 10Pah who also recited one of his latest poems DRKLIT during ‘Midnight Procession Pt 1’ Ancient Remains were followed by another local – Xitan, whose act was initiated by a funeral procession from the festival area main gates, with nun clad models carrying a coffin following the master of procession blessing onlookers with incense. The coffin was delivered to the foot of the stage where the awaiting Xitan launched into his set once it was positioned and all heathens took their place in front of the stage. Sandmist took care of the music and technicalities allowing Xitan to perform more freely. For the last song of the set Xitan performed ‘Children Of The Dark’ (original by Mono Inc.) with the ‘angelic’ voice of Veronique Meeuwsen. The other songs making up his set list were Seraphim Burn, Samael, Union Of The Black, Square Hammer (Ghost cover), Lilith, Satana and Becoming God. The bill for Sunday continued with performances by Toxic Army, The Dark, Motel Transylvania, Alien Vampires, Agonoize with headliners, German dark wave band Project Pitchfork closing the festival for 2023. We left the festival tired, but gleaming with satisfaction of a well-organized event, already with next year’s edition on our minds. Of course, apart from the impeccable organization one must ruminate and congratulate the staff members, stagehands, and stage technicians under the directions of Michael Hersey and sound engineer Ays Kura (Die Kur’s frontman who played the festival in 2022). One only has to read the comments left by artists, musicians and attendees on the Facebook event page towards the crew to see how professional they were. An artisan market welcomed anyone who entered the main room during these three days with anything goth, metal, and pagan under one roof. During the three days one could also enjoy an art exhibition titled ‘Malta Oskura’. Stunning artwork by Ester Cardella, Sara Pace, Joseph Bugeja, Franco Navarro, Luca Cauchi and Jennings Falzon The latter five artists’ works can also be viewed at Casino Notabile in Rabat from the 29th April till the 14th May. Needless to say we all needed time to recuperate, but once energy was regained we were faced of the reality that we have to wait another 366 days (2024 is a leap year) to relive another magical weekend as we did this year. Melodija team chose their personal top 5 foreign bands of the festival. Keith Muscat :Deathstars, Mal Di Luna, The Dark, Motel Transylvania, Toxic Army Priscilla Spiteri: Motel Transylvania, Toxic Army, Chontaraz, Emphaty Test, The Dark Noel Mifsud: Chontaraz, Toxic Army, Motel Transylvania, Mal Di Luna, V2A Share your Dark Malta experience by commenting below pool photos: Antoine Cortis live bands photos: Vica Mifsud / Priscilla Spiteri