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Robert Farrugia Releases ‘Ballottra’ Ahead of upcoming soundtrack album ‘Natura Maltija’ Maltese ambient artist Robert Farrugia announces new soundtrack album Natura Maltija, providing a playful, ambient-inspired score of hardware synthesis and orchestral instrumentation to beautiful multi-part Maltese nature documentary About 'Ballottra' ‘Ballottra’ [Eng: Weasel], the first single from the ‘Natura Maltija’ [Eng: Maltese Nature] series soundtrack, is a playful, vibrant composition for Farrugia’s characteristic hardware synthesis,  embodying the agile, miniature, rarely-seen Maltese weasel. Employing orchestral instrumentation alongside synthesisers, the piece - as with the remainder of the record - is as lively, unique, and delicate as Malta’s fertile but isolated natural ecosystem. Throughout, nimble piano motifs  flutter atop strings, synth drones, and arpeggiation in deft and elegant symbiosis. In contrast to more poignant and melancholic moments elsewhere on the record,  highlighting the challenges facing Malta’s ecosystems, “Ballottra” evokes wonder and playfulness, celebrating its beauty. About 'Natura Maltija' [Official Soundtrack] Farrugia’s ‘Natura Maltija’ score marries traditional and organic orchestration with contemporary ambient-aligned sound design to support the narrative of the documentary series - itself a rare and deeply engaging longform experience, unique to the tiny Mediterranean archipelago Just as the series, Farrugia’s soundtrack captures the breadth and beauty of Malta's diverse wildlife. Each track corresponds a specific lifeform, both fauna and flora, while recurring motifs and instrumentation bind the album and series into an overarching narrative. Recorded, as usual, in his home studio, Farrugia worked closely with the series producers to offer both celebratory and wistful storytelling. Bugeddum Bufula Fkieren Lhudi Qabru Merill Gamiem Ballottra Qarnita Tema Series producer and director Saviour Bonnici's inspiration to create Natura Maltija [Eng: Maltese Nature] stems from a young age, largely influenced by his father, who shared his knowledge and passion for the natural world. Bonnici came to understand  that Maltese nature, rich in biodiversity - there are over 11,000 species, 130 of which endemic - was under threat. Sensing a want of environmental education in the Maltese school system, he took action. Natura Maltija, a beautifully shot and directed, entirely Maltese-language documentary series showcasing the island’s unique flora and fauna, was broadcast on One, a key terrestrial channel on Maltese television Bonnici met Robert Farrugia through mutual friend in Malta’s small but fraternal music scene, proposing that  Farrugia’s ambient prodcution matched the tone envisioned for the series. The soundtrack became essential in conveying each species’ story: wonderment for the rare weasel (‘“Ballottra’”) and sadness for the endangered Maltese freshwater crab (“Qabru”).  The first series, now completed, and already domestically broadcast, Natura Maltija is to expand its reach., with plans to make the series internationally available across online media platforms, with newly added English language subtitles.  The second series of Natura Maltija will be integrated into the local education system via the Maltese Ministry of Education, helping to promote nature education among students and foster a long lasting awareness of Malta's biodiversity. About Robert Farrugia Robert Farrugia is a dynamic and continually evolving ambient artist whose palette has, over years of releasing solo music, grown to touch on  drone, neoclassical, downtempo, and IDM. Drawn to acoustic instrumentation with significant personal value,  such as his family’s Weinbach piano,  these instruments become more than just tools for his compositional practice, they act as unique characters, each adding its own voice and depth. Milestones in his career include the releases of Tines in 2016 and Slow Morning in 2017, both on Spain’s Archives Records. He has also collaborated with Dylan Henner for one-off track "Xochitlatcan", and reworked Past Inside the Present boss zakè's "New Dawn" for the latter’s remix collection. ‘Ballottra’ Visualiser Check out the visualiser for the track on our Youtube Channel. Footage provided by series producer and director Saviour Bonnici. Copyright (C) 2024 Kewn Records. All rights reserved

Gozo, a small Mediterranean island covering just 67 square kilometres and with a population of approximately 39,287, has nurtured a surprisingly vibrant metal scene over the years. Despite its size, Gozo has produced a number of talented metal bands spanning various sub-genres of metal. Below is a chronological exploration of ten of the most influential and interesting bands to emerge from this small yet dynamic metal scene. 1. Apotheosis (Epic Symphonic Black/Thrash Metal) - Formed in 1993 Apotheosis was one of the earliest pioneers of metal in Gozo, formed in 1993 and spearheaded by the enigmatic Sauron , who handled vocals and all instruments. His sound blended black and thrash metal with symphonic elements, creating an epic atmosphere. Apotheosis left his mark with the demo Shadows Eve  in 1995, followed by Promo 97  in 1997. His crowning achievement came in 2002 with the release of Farthest From The Sun , a full-length album that cemented their influence. The ‘band’ remains on hold, but the contribution to the island’s metal scene remains significant. 2. Emetos (Thrash/Black Metal) - Formed in 1995 Emetos emerged in 1995 and quickly established themselves with their demo Demon . The band explored heavy themes like death, disease, altered states, and politics in their music, setting them apart in the local scene. In 1995, they also released a split with Guloo, a band from Bogota, Columbia, further diversifying their presence. In 2008, they released another demo, Bestial Possession . While Emetos is currently inactive, their intense style and politically charged lyrics made them a unique fixture in Gozo’s underground metal community. 3. Daemor (Black Metal) - Formed in 1996 Daemor was formed in 1996 by the musician known only as Blood , who performed all instruments and vocals. Daemor’s sound was raw, dark, and introspective, with lyrics revolving around war, death, and sorrow. The ‘band’ released two demos: Moments of Misery  in 1996 and Fog of Dawn  in 1997. Notably, Sauron  from Apotheosis contributed keyboards to their 1997 demo. Although Daemor is no longer active, ‘they’ remain a key player in the early days of Gozo’s black metal scene. 4. Enraged (Speed/Thrash Metal) - Active in the 1990s Another early band, Enraged, helped to lay the foundation for the thrash metal scene in Gozo. While information on the band is scarce, their demos, WWIII  (1992) and a rehearsal tape in 1994, are evidence of their participation in the local metal underground. Although little more is known about their history, their presence in the early 90s is worth noting as one of the roots of the island's metal movement. 5. Inner Grey (Progressive Metal/Rock) - Formed in 2007 Inner Grey brought a progressive edge to Gozo’s metal scene. Active from 2007 to 2016, they released the demo If Symptoms Persist  in 2008. Their lineup featured talented musicians such as Blasio Muscat (who with Joe Costa later formed Ascendor), John Cassar on vocals, Anthony Fenech on drums, and Joe Costa on guitars (ex-Rising Sunset). Despite splitting up in 2016, Inner Grey’s blend of progressive metal and rock left an indelible mark on Gozo’s musical landscape. 6. Ascendor (Thrash Metal) - Formed in 2011 Formed in 2011, Ascendor became one of Gozo's most prominent thrash metal bands. Despite being momentarily on hiatus, they released several full-length albums, including Becoming  (2013), Drive My Demons Away  (2015), Disturb the Dust  (2018), and Circle of Violence  (2020). Their lineup includes accomplished musicians Paul Formosa (also with Sonic Storm) on drums, Steve Muscat on vocals, and Blasio Muscat on bass and Joe Costa and Andy Fava, both on guitars. Thematically, the band explores topics such as inner demons, domination, and faith, contributing depth to their high-energy thrash sound. 7. Upper Lip (Hard Rock) - Formed in 2013 Upper Lip spurs a nostalgic and groovy brand of hard rock, drawing inspiration from both the stunning natural surroundings of Gozo and classic rock influences such as Rush, AC/DC, Rory Gallagher, The Smiths, and even Waylon Jennings. Since their inception in 2013, the band quickly gained a warm reception from rock fans, performing at numerous gigs and festivals across the islands. Their energetic live performances soon translated into more invitations to play. In 2019, Upper Lip embarked on a major project to record their debut album at the renowned Temple Studios, a location that has hosted prominent acts like Rammstein and Siouxsie and the Banshees. The result was Deep Within , an 11-track album released in May 2021, capturing the band’s signature groove and live energy. The singles Keep Going  and What Makes You Smile  both came with music videos, the former channelling the pumping spirit of 80s rock anthems. The band's lineup features Chris Portelli on vocals, Joseph Azzopardi as the lead guitarist and songwriter, Marcel Paul Grima on bass, and Clyde Vella on drums. Upper Lip remains active and continues to bring their hard rock sound to audiences both locally and beyond. 8. Psychopath (Thrash/Black Metal) - Formed in 2016 Victoria-based Psychopath has been an active force in the local scene since 2016, and is a project by Sean Attard, who handles both vocals and instruments. The 2020 full-length album Teratogenesis delves into dark and provocative themes, including Satanism, anti-Christianity, psychopathy, and anti-government sentiments. Sean Attard's involvement in multiple projects, including Mur.Doc 104, demonstrates his versatility and commitment to Gozo’s metal scene. 9. Aeon’s Child (Progressive Heavy Metal) - Formed in 2016 Formed in 2016, Aeon’s Child takes a more progressive approach, leaning towards instrumental compositions. The project, a brainchild of Kris Vella, released its self-titled album Aeon’s Child  in 2017, which showcased intricate musicianship and atmospheric soundscapes. The instrumental style sets him apart from many of the darker, lyrically intense bands in Gozo, offering a melodic and progressive take on heavy metal. 10. Zabbeth (Black/Thrash Metal) - Formed in 2021  Sean Attard’s other project Zabbeth is one of the newer additions to Gozo’s metal scene, formed in 2021 and still very much active. In 2022, ‘they’ released their self-titled debut album Zabbeth , which features Sean performing all instruments and vocals. The music follows in the footsteps of black and thrash metal traditions, with lyrical themes centred around Satanism and evil. The ‘band’ released a split with the U.S.-based band Vaulderie in 2024, showcasing their ambition to expand beyond local shores. The metal scene in Gozo, though emerging from a small and relatively isolated location, has produced a wide variety of bands over the decades. From the pioneering black and thrash metal acts of the 90s to the progressive and experimental projects of more recent years, Gozo’s metal community has proven itself to be passionate, diverse, and resilient. Whether through intense themes of death and darkness or explorations of progressive musicianship, these bands have collectively built a vibrant and unique metal culture on this small Mediterranean island.

Australian-born musician Stephan Borg, known by his stage name 'Wolff', has had a remarkable journey in the metal music scene, weaving his way from Malta's underground metal scene in the 1990s to his current solo project, Tatius Wolff . His career reflects resilience, creativity, and a passion for evolving soundscapes, drawn from a broad range of influences. In 1991, Borg co-founded the doom-death metal band Oblique Visions in Malta, with Brian Sammut on bass, Conrad Attard on drums, Jeffrey Bugeja on guitars, and Jason Agius on vocals. The band's early work, including a live recording titled Oblique Visions Live at Fort Rinella , showcased their heavy yet melodic sound. Their first official release, The Fallen , arrived in 1994, a demo that began solidifying their presence in the metal community. A pivotal moment for the band came in 1995 with the release of their full-length debut album, Seas of Serenity , which combined doom-laden atmospheres with melodic sensibilities. This album cemented their reputation in the Maltese metal scene. However, while working on a follow-up album, Borg made the life-changing decision to return to Australia. Reflecting on this move, Borg admits, "I was unsuccessful music-wise. I tried to find metal bands in Sydney, but there wasn't much of a metal scene in the late '90s, early 2000s... I kind of gave up, to be honest." For 17 years, Borg took a step back from music, but his passion never truly faded. In 2015, he re-entered the music scene with a renewed vigor, creating under the moniker Tatius Wolff . His solo project, founded in 2017, was inspired by bands like Type O Negative , Tool , Nine Inch Nails , and Deftones , incorporating a wide array of gothic, melodic, and progressive elements. Borg describes his sound as “a metal soundscape that switches between quiet interludes, angry heavy riffs, and thick bass lines.” His first single, Thumbscrews , dropped in June 2017, marking the official beginning of his solo career. Since then, Tatius Wolff  has released multiple singles and albums, including the hauntingly personal The Relapse  in 2018, a concept album centered around Borg’s own health struggles. "The songs on The Relapse are all about the journey of getting sick, thinking you're okay, but then it gets worse... It was really just me looking for something to write about," Borg explained. His work is deeply reflective, often touching on themes of vulnerability and resilience, channeled through a unique blend of metal styles. While Tatius Wolff  gained momentum, Borg's connection to his roots in Oblique Visions  never fully dissipated. In 2017, he reunited with the band for a special performance at The Garage in Malta. "I hadn't played in so long, but when they suggested a reunion gig, I was eager to get back into it," Borg said, recalling the challenges of relearning the old songs. The gig rekindled his love for live performance and collaboration with his old bandmates. Another reunion took place on November 1st, when Oblique Visions played yet another memorable show at The Garage in Malta. Borg had started rehearsing months in advance, preparing for the performance by relearning some of the band's older material and tackling new songs. “This time around, we chose a bunch of songs that I hadn’t played last time, so it was a bit challenging,” Borg said, reflecting on the experience. The reunion marked another high point in the band’s enduring legacy, demonstrating their ongoing relevance in the metal scene. This renewed connection with Oblique Visions  also led to Borg's involvement in the band’s latest album, Out of Darkness , released in 2023. Borg co-wrote two tracks, Husk  and Back to Earth , marking his first contribution to the band in over two decades. "We didn't have Conrad (the singer) at the time, so I wrote the lyrics as well. It was a great opportunity to contribute again, even though I'm on the other side of the world now," he shared. Borg's transcontinental career has undoubtedly influenced his music. Living in Australia, far from his Oblique Visions  bandmates, has made collaboration challenging, but he remains hopeful for future projects. "Frank Pizzo, (his replacement), and I haven’t collaborated yet, but I think we have a lot in common musically, and I’m looking forward to working with him in the future," he said. As Borg prepares to return to Australia following his recent stint in Malta, he remains optimistic about his future creative endeavors. "I'm really hoping that when I return to Australia, I'll have that inspiration back again," he says. His time with Oblique Visions  has clearly reinvigorated him, and he looks forward to continuing his solo work as Tatius Wolff , promising more releases to come. Through his work, Stephan ‘Wolff’ Borg has shown that musical passion transcends borders and time, and whether collaborating with old bandmates or forging ahead with his solo project, his dynamic and evolving sound continues to captivate listeners around the globe.

Athelstone, a progressive rock band hailing from Mosta, made a significant mark in the prog rock scene with their debut album, The Quiet Before The Storm , released digitally on Bandcamp on October 14, 2011. The album embodies the band’s eclectic approach to music, merging various genres, including progressive rock, jazz, fusion, and shoegaze, into a seamless blend. The band, formed in 2010 by guitarist Daniel Cassar and drummer/percussionist Matthew Vella, produced an album that reflects both the technical prowess of the musicians and the DIY spirit behind its creation. Athelstone was founded by Cassar and Vella, who took six months to compose nearly an hour of music in 2011. This project soon evolved into a full-fledged band when they recruited bassist Ryan Vella Bonello to complete their trio. Driven by a commitment to retain complete artistic control, the band undertook a DIY recording process during the summer of 2011, converting a basement, living room, and bedrooms into makeshift studios. The album was engineered, produced, and orchestrated by Cassar and Vella themselves, ensuring that the final product was true to their creative vision. The Album: Composition and Technicalities The Quiet Before the Storm  is composed of three expansive tracks: the titular “The Quiet Before the Storm” (22:49), “Jaaz” (08:09), and “Coming Full Circle” (23:20). These tracks are entirely instrumental, with guest appearances from Dana McKeon, Fabian Bonello on saxophone, and cellist Rachel Attard Portughes, enriching the sonic landscape. The band’s creative intent was to push boundaries, blending contrasting genres to create a unique listening experience. The opening title track, “The Quiet Before the Storm,” epitomises this with its ebb and flow between atmospheric soundscapes and intense, distorted guitar riffs. As described in reviews, the track alternates between calm, dreamy sections and raw, chaotic passages, reflecting the band’s embrace of unpredictability. “Jaaz,” the second track, takes a different approach, leaning heavily into jazz and bossa nova influences before exploding into heavy, distorted guitar sections, as one reviewer noted, creating an interplay between smooth jazz and unruly rock. The final track, “Coming Full Circle,” stands as the most ambitious of the three, introducing electronic elements, Mellotron, and even vocals reminiscent of Pink Floyd's The Great Gig in the Sky . The track moves fluidly between moments of tranquillity and explosive crescendos, ending with a psychedelic, feedback-laden climax. Technical Execution and Sound While Athelstone’s technical abilities were praised, the production quality of The Quiet Before the Storm  became a point of contention among reviewers. The album was self-recorded and mixed by the band, which resulted in some sonic imperfections. Several critics commented on the excess of distortion and the occasionally murky sound of the guitars. Reviewer Andrea on Prog Archives  remarked that the sound quality did not match the quality of the compositions, which were otherwise full of intriguing ideas and dynamic shifts. The heavy guitars, while central to the band’s sound, were described as “ailing” by some critics, detracting from the overall brightness and clarity of the album On the other hand, some listeners appreciated the raw, unpolished aesthetic of the album, suggesting it added character to the music. The album’s experimental nature, combined with its DIY recording, gave it a distinctive charm. The band's ability to move between genres, fusing jazz, bossa nova, and post-rock elements, was largely seen as one of its strengths, as it kept the album dynamic and unpredictable. Critical Reception The Quiet Before the Storm  garnered mixed reviews, with most critics offering three out of five-star ratings. The album was praised for its ambition and creativity, particularly in its ability to blend a variety of musical styles and textures. However, reviewers also noted areas for improvement, particularly in terms of production quality and coherence in structure. Epignosis, a prog music collaborator, highlighted the album's ability to touch on every major progressive rock style, with jazz being its “home base.” Yet, he also critiqued the guitar tone, expressing a preference for a brighter, clearer sound. Similarly, AtomicCrimsonRush praised the band’s musicianship but pointed out the lack of a strong conceptual framework, which made it harder for him to connect with the music on a deeper level. Memo_anathemo, another critic, echoed these sentiments, acknowledging the band's potential while also critiquing the predictability of the album's longer tracks. Despite these critiques, the band’s ability to create dynamic, non-repetitive compositions was often noted as one of their strengths, and the album was seen as a solid foundation for the band to build upon in future projects. The Quiet Before the Storm  was a bold first step for Athelstone. The album’s eclectic mix of styles and genres, combined with the band’s willingness to experiment, established them as a unique voice in the progressive rock scene. While the production quality of the album may have held it back from achieving its full potential, it remains an impressive debut that showcased the technical abilities of its musicians and their commitment to pushing musical boundaries. As the band’s mission statement suggests, Athelstone's primary goal was to make music for the pure joy of it, and in that sense, The Quiet Before the Storm succeeded in capturing the essence of their creative spirit. Bibliography Andrea. "Review: The Quiet Before the Storm." Prog Archives , November 17, 2017. Epignosis. "Review: The Quiet Before the Storm." Prog Archives , August 17, 2013. Memo_anathemo. "Review: The Quiet Before the Storm." Prog Archives , August 5, 2013. AtomicCrimsonRush. "Review: The Quiet Before the Storm." Prog Archives , November 9, 2012. MemoWakeman. "Review: The Quiet Before the Storm." Prog Archives , June 30, 2012. Lazland. "Review: The Quiet Before the Storm." Prog Archives .

Ozzy Osbourne’s first lines of the song Mr. Crowley are familiar to most metal heads:   Mr. Crowley, what went on in your head? Oh, Mr. Crowley, did you talk to the dead?   In his style, Ozzy is taking the mickey out of the man that has been labeled as ‘The Great Beast 666’ and ‘the wickedest man in the world.’  This song, featuring on his solo debut Blizzard of Ozz (1980) ,  puts under the spotlight the credibility of the British occultist, poet, ceremonial magician and mountain climber, Aleister Crowley.  Ozzy was not the only to fall under the spell of Crowley, as we shall see later in this article.  But first a few lines about the man himself.  This is by no means a biography of Crowley but some highlights of his life to give a bit of context.  Aleister Crowley Born in 1875, Aleister Crowley was brought up in a fundamentalist Christian environment and this explains a lot on his rebellious character and disregard to rules, later in life.  Coming from a well-off family he could afford a life of luxury devoted to the subjects that really interested him.  At the beginning of the twentieth century there was a resurgence in esoteric societies and soon Crowley was rising through the ranks of the Hermetic Order of the Golden Dawn and the Ordo Templi Orientis.    Crowley’s strong headedness and dubious methods soon led him to be donned as a black sheep, even to fellow occultists, and soon he branched out with this own spiritual philosophy, Thelema, to which he appointed himself as prophet.  Crowley added the k  to magic, to differentiate the practice of occult workings from prestige parlor tricks.  Following a path of experimentation, he journeyed to India and North Africa, amongst other countries.  He did not hold back from sexual hedonism, drug abuse and sadomasochism in the attempt to reach his goals.      Crowley published many books throughout his life, amongst of which we find Magick in Theory and Practice  (1929), Moonchild (1929) and The Book of Thoth (1944).  Other books were published posthumously.  Crowley has been and still is the subject of may researched articles and books.  Hate him or love him, you cannot be neutral about The Beast.  From reams of paper that he has published, he is remembered best for his maxim “Do what thaou wilt shall be the whole of the Law.”   And what phrase could resound more to the rebellious nature of Hard Rock and Heavy Metal.       Aleister Crowley passed away in 1947, aged 72. Influenced parties. The Beast makes an appearance on the cover of one of the most influential rock albums in history – The Beatles Sgt. Pepper’s Lonely Hearts Club Band.  In the upper-left-hand corner, between Indian guru Sri Yukteswar Giri and actress Mae West, there is The Beast himself.  Another huge figure in hard rock, Jimmy Page, showed a keen interest in Crowley and purchased Boleskine, the magician’s former home on Loch Ness.   David Bowie mentions Crowley in the lyrics of ‘Quicksand’, featured in his 1971 record Hunky Dory :   I’m closer to the Golden Dawn Immersed in Crowley’s uniform Of Imagery.    Another reference to Crowley can be found in Sly and the Family Stone song “Everybody is a Star” where they quote one of the opening lines of The Book of The Law – “ Every man and every woman is a star .” Iron Maiden’s song “Moonchild” from their 1988 album Seventh Son of a Seventh Son  is based on Crowley’s novel with the same name and one of their famous songs “The Number of the Beast”, might allude to The Beast himself.  Over and above, lead singer Bruce Dickinson is the script writer to a tongue-in-cheek horror film, Chemical Wedding (2008), in which the occultist is reincarnated through a modern-day Cambridge professor.  Some of Bruce Dickinson’s songs from his fifth solo album The Chemical Wedding (1998) feature in the movie.  There are songs from this album that are also inspired by Crowley.    Celtic Frost’s classic “To Mega Therion” (1985) might refer to one of Crowley’s pseudonyms “The Great Beast”, in Greek.  Their song “Os Absmi vel Daath” is influenced by Crowley’s writings.  Another reference can be found in Marilyn Manson’s “Misery Machine’, during which he sings “ down Highway 666 …… to the Abbey of Thelema. ”       A track by Ministry, “Golden Dawn”, from their album The   Land of Rape and Honey (1988), makes reference to the British-based occult society, Hermetic Order of the Golden Dawn, from which Crowley was booted out for his excesses.    The Beast’s spiritual philosophy is also reflected in Behemoth’s “O Father, O Satan, O Sun” (2014).   Exhorder’s “The Law” (1992), starts off with Crowley’s maxim “Do what thou wilt shall be whole of the law.”  The same verse is cited in Mercyful Fate’s “The Oath”, from their 1984 album Don’t Break the Oath.      Samael, cite Crowley’s poem “The Titanic”, as part of the lyrics for their song “Crown” (1994) – “ A crown of thorns is still a crown. ” Conclusion This is by no means an exhaustive list of songs and/or bands that were influenced by British occultist Aleister Crowley and his spiritual philosophy.  He who is proclaimed as a blasphemer by most, stands as a model of rebellion against the established norms - and is that not what Metal music stands for?  No wonder The Beast, through his deeds and philosophy, still holds court in the realm of the darkest music of all.

B E R N E 789 For fans of: London Grammar, Art School Girlfriend, The xx, RY X and Björk Earth-pop duo Berne  release debut album 789 on October 31 .  789 , which represents the number of extinct species  in the last 400 years, is a creative expression of how we as humans interact with the planet, animals, and each other.   Tracklist: Lunar Spectacle (4:47) Language (6:33) Waves (5:43) You Never Get Enough (4:08) Hurt (6:38) Lost My Skin (3:55) Berne is recognised as  EU Climate Pact Ambassador for Malta . Berne explain: “We are thrilled to be sharing 789, a body of work that has taken us on an exploration of sound and mind during a couple of really difficult years for the world. There’s pain, frustration, sadness, anger, hopelessness, and hiding; but we hope that knowing that none of us are alone in dealing with this provides some refuge.”   All tracks are co-written with The Earth  via EarthPercent , raising funds by diverting a portion of royalties to environmental organizations. All tracks were recorded and produced by Berne. Tracks 1-4 & 6 were mixed by Shuta Shinoda; Track 5 was mixed by Joy Stacey. All tracks were mastered by Cicely Balston. Saxophone on Language was performed by Wesley Frankel. “A duo addressing injustice through music and beyond.” BBC Introducing   “'Language' is a firm reminder of just how awe-inspiring they can be. Fresh and immersive at every turn, Berne already sound like they are entering the next phase within their musical evolution to date.” Lock Magazine Contact Berne on soundslikeberne@gmail.com . SoundCloud Website Instagram

Tony Carr, born George Caruana in Valletta, Malta in 1927, is a retired drummer and percussionist whose contributions to jazz and popular music have left an indelible mark on both the Maltese and international music scenes. After emigrating to the UK in 1952, Carr went on to work with some of the biggest names in music, including Ella Fitzgerald, Paul McCartney, and Sixto Rodriguez. Despite his immense contributions, much of his legacy remains underappreciated—until now. A new documentary titled Strait Street to Abbey Road premiered on October 10, 2024, at Spazju Kreattiv Cinema in Malta, shedding light on Carr’s remarkable journey. Produced by the Maltese cultural platform Sugu, this film aims to preserve Carr's legacy while celebrating the vibrant history of jazz in Malta. The documentary was produced by an accomplished team, including drummer Ġuże Camilleri, filmmaker Cedric Vella, and sound engineer David Vella from Temple Studios. Together, they present the untold story of Tony Carr, a Maltese musical pioneer. A Lifetime in Rhythm Tony Carr's journey to prominence began during World War II when, as a teenager, he found himself immersed in Malta's jazz scene, forming one of Malta's earliest jazz trios. Playing in Valletta’s iconic Strait Street—a hub for musicians and Allied troops—Carr honed his craft. He was particularly inspired by African American jazz musicians who found themselves stranded in Malta during the war. By 1952, Carr had decided to leave Malta for London, where the opportunities in jazz and popular music were far greater. His perseverance and talent eventually paid off when he caught the attention of American jazz-pop singer and bandleader Billy Eckstine, who invited him on a European tour in 1954. This was a pivotal moment in Carr's career, establishing him as one of London’s most in-demand session drummers. From the 1960s through the early 1980s, Carr worked with a long list of musical legends. John Cameron, a jazz and pop pianist, conductor, and arranger, consistently hired Carr for studio sessions. His impeccable timing, versatility, and ability to blend seamlessly with different styles made him a go-to drummer for artists such as Ella Fitzgerald, Sixto Rodriguez, and Paul McCartney. One of Carr’s career highlights includes his involvement in the recording of Wings’ 1979 album Back to the Egg. Carr contributed to the celebrated “Rockestra Theme,” recorded with an all-star lineup including John Bonham of Led Zeppelin and Pete Townshend of The Who. Carr’s Legacy and Maltese Jazz While Tony Carr made his name abroad, he never lost touch with his roots in Malta. Throughout his career, Carr played alongside renowned Maltese musicians such as Frank Bibi Camilleri, Joe Curmi, Juice Wilson, and Sammy Galea. These collaborations reflected his deep connection to his homeland and its developing music scene. Yet despite his accomplishments, Carr's story has been largely forgotten, particularly in his native Malta. This lack of recognition is something the new documentary Strait Street to Abbey Road seeks to correct. The film places Carr at the centre of a broader exploration of Malta’s early jazz scene, featuring interviews with key figures in the Maltese music world. As producer and researcher Ġuże Camilleri explained, the documentary also aims to rectify the "broken history" of Maltese jazz, which has not received the documentation or recognition it deserves. In a rare interview, Carr reflects on his career and the challenges he faced as a Maltese musician in London’s fiercely competitive scene. His story is one of perseverance and quiet triumph, a testament to the determination required to break through in an industry that has often overlooked contributions from smaller nations like Malta. A Documentary for Future Generations The documentary premiere marks the culmination of months of research by Camilleri, whose passion for preserving Maltese music history has driven the project. In addition to Carr, the film highlights other influential figures in Malta's jazz scene, such as American multi-instrumentalist Juice Wilson, who settled in Malta in the 1940s, and saxophonist Sammy Murgo Camilleri's research, which began in 2015 with the objective to be developed as a documentary, was supported by Arts Council Malta and adapted for the screen by filmmaker Cedric Vella. Together with music producer David Vella, they have created a vivid portrayal of Carr’s life and career, presenting not only his journey but also a cultural history of Maltese jazz. Samuel Attard, took care of the mixing and mastering of the sound, while Jimmy Grima, handled the illustrations. The documentary is a testament to Carr's significant yet understated contributions to music, both locally and internationally. For audiences in Malta, Strait Street to Abbey Road offers an invaluable glimpse into the island’s rich musical past, inspiring a new generation of musicians and music lovers. As Tony Carr turns 97 later this month, the film serves as a long-overdue tribute to his enduring influence and a reminder of the profound impact that Maltese musicians have had on the global stage. An additional screening of the documentary will take place on the 5th of November. Bibliography : Times of Malta M3P.com (Malta Music Memory Project) Rate Your Music. "Tony Carr: Discography and Collaborations" Camilleri, Ġużè, Maltese Dummer and Percussionist George Caruana (aka Tony Carr) Career, Musical Styles and Adaptability Camilleri, Ġużè, Anecdotes of Maltese Early Jazz (Vinyl) Photos: Ġużè Camilleri

New Drummer, New Energy, and a New Chapter Ahead! After three months of intensive efforts, we regret to announce that we have been unable to recover access to our official Facebook page, which was hacked earlier this year. Despite exploring every option, we’ve had no luck in regaining control. While we may have lost one platform, our commitment to keeping you connected is stronger than ever, and we’re moving forward with exciting updates and new ways to engage with us. As some of you may know, our brother Steve has recently retired from drumming. We extend our deepest gratitude to him for his years of dedication to ClubMurder, our other shared bands, and for the lifelong bond we formed along this incredible musical journey. Together, we’ve shared moments of both challenge and triumph, and as one chapter closes, we want to wish Steve all the best in his next adventure. Steve, thank you for the unforgettable years of friendship and music—you’ll always be part of the ClubMurder family. However, this is not the end but the beginning of an exhilarating new era for ClubMurder! We are thrilled to introduce Victor Hugo (Halcyon) as the powerhouse driving our new sound forward. After six intense weeks of rehearsals, Victor has reignited our passion, bringing new fire to our performances and pushing us to deliver our hardest-hitting live shows yet. We’re back, and we’re more excited than ever to return to the stage and reconnect with you all. Join us for The Unholy Final Chapter of the Halloween Massacre  this Saturday at The Garage —it’s going to be an unforgettable night. This performance marks the start of a new chapter, and we can’t wait to share what’s next. In the coming weeks, stay tuned for a host of announcements, including the release of our upcoming EP, fresh merch, new gig dates, and more on Victor’s official role as ClubMurder’s drummer. To all of our fans, thank you for your incredible support as we evolve, rebuild, and come back stronger than ever. We’re eager to share this journey with you and look forward to seeing you out on the road soon! For additional information, updates, and the latest news, connect with us on our website and other social channels. Press Contact: ClubMurderEmail: press@clubmurderofficial.com Website: www.clubmurderofficial.com

In June, an article titled " Rokarja AST: The Heartbeat of Malta's Rock Revolution " highlighted the 1980s cultural revival centred around the Tigné promontory in Sliema. At the heart of this resurgence stood St. Luke's Garrison Chapel—better known as Tigné Chapel—where the vibrant energy of Malta's burgeoning rock scene and artistic community found a home. This historic chapel, once a spiritual haven for British servicemen, became a beacon of Malta's cultural evolution, especially during the 1980s, when it hosted a variety of performances, concerts, and social events. Its fascinating transformation over the years reflects the intertwined history of religious devotion, military presence, and artistic expression. From Military Chapel to Cultural Nexus Tigné Chapel, originally named St. Luke's Garrison Chapel, was constructed in response to the growing British military community in Sliema. The need for an Anglican place of worship at Tigné was keenly felt at the beginning of the 20th century as the area around Fort Tigné expanded. In 1910, plans for the chapel were drawn by Lieutenant Colonel Hemming of the Royal Engineers, with its foundation stone laid on January 16 of that year by Sir Leslie Rundle, the Governor of Malta. The chapel was completed within months, and the first service was held on November 27, 1910. Bishop William Edward Collins of Gibraltar performed the dedication. Built to accommodate 400 worshippers, the chapel was not only a place of worship but also a hub for military and local activities, including Sunday schools and support groups. The chapel's prominence grew, particularly during the interwar years, when it became a focal point of community support, offering respite and comfort to the distressed. Architectural Significance St. Luke’s Garrison Chapel was designed with careful attention to detail, making it both practical and beautiful. Its design included three entrances and a spacious interior that featured a chancel, two aisles, a nave, an organ, and a vestry. The altar, a striking piece of craftsmanship, was decorated with Corinthian-style pillars and Maltese crosses, with its floor adorned in red tiles and white marble steps. Over the years, the chapel was enhanced by various gifts from the congregation, including a stone memorial pulpit and a brass cross dedicated to Colonel H.T. Hughes Hallett. However, during World War II, the chapel suffered significant damage from bombings, forcing the congregation to relocate to nearby Holy Trinity Church. Despite these setbacks, the chapel survived and continued to serve the military community until the British forces left Malta in 1979, after which it was abandoned and fell into disrepair. Tigné Chapel in the 1980s: A Cultural Renaissance In the 1980s, Tigné Chapel experienced a resurgence, not as a place of worship, but as a cultural and artistic venue. The Assoċjazzjoni Sportiva Tigne (AST), a local association, began using the chapel for meetings and cultural events. Most notably, it became the home of Rokarja AST, a key player in Malta's rock music revolution. Bands like Rokarja AST used the chapel as a venue for concerts, bringing a new energy to the historic site. Alongside rock concerts, the chapel also hosted theatrical performances, making it a hub of creativity and artistic expression during this period. This period marked a stark contrast to its previous life as a military chapel, with its halls now filled with the sounds of electric guitars and theatrical dialogue rather than hymns and prayers. The venue also attracted other cultural activities, such as Tai Chi classes and ballroom dancing sessions in the early 1990s. These events gave new life to the abandoned chapel, turning it into a focal point for alternative culture in Malta. Restoration and Preservation In 2001, the Tigné Chapel was included in a broader restoration project undertaken by MIDI plc, a private company responsible for the rehabilitation of several historic sites on the Tigné peninsula and Manoel Island. The restoration work on the chapel, completed by 2019, was part of a €21 million project aimed at preserving Malta’s architectural heritage. Fort Tigné, the Garden Battery, and other nearby sites were also restored. The chapel’s exterior and interior were carefully conserved, with special attention given to maintaining its historical features, such as the original floor tiles and the Corinthian-style pillars. Although the building no longer functions as a church, it now serves as the headquarters of an international aviation company, ensuring its continued use while preserving its historical significance. A Legacy Preserved The restoration of Tigné Chapel is part of a wider effort to preserve Malta’s historical buildings, particularly those tied to its military past. Along with Fort Tigné and the surrounding batteries, the chapel forms a vital part of Malta’s rich heritage, offering a tangible connection to both its colonial and post-colonial history. The extensive rehabilitation of these sites, especially Fort Manoel, reflects a commitment to ensuring that these architectural treasures remain part of Malta’s living history for generations to come. Today, while the chapel no longer hosts rock concerts or cultural events, its walls continue to resonate with the stories of those who once gathered within. Tigné Chapel's journey—from a military place of worship to a vibrant cultural hub, and now a restored historical site—captures the essence of Malta’s evolving identity, blending its past with its present. Bibliography M3P.com . Tigné Chapel: The Heartbeat of Malta’s Rock Revolution. Times of Malta, 28 March 2020. After 18 Years, Tigné Point and Manoel Island Restoration Projects Completed . Wikipedia contributors. St. Luke's Garrison Chapel (Tigné Barracks), Wikipedia.

FERRET Release ‘For The Love Of Pizza’ Ferret’s EP, ‘For The Love Of Pizza’, is a flavourful tribute to the bond the band shares over food, reflecting how their unique influences blend together to create their distinctive sound. The title pays homage to what drives and inspires the band, likening their creative process to crafting the perfect pizza—where each member adds their own "toppings" to the base of Ferret’s core sound. This instrumental EP showcases their ability to craft engaging music that stands strong without vocals, featuring dynamic peaks, valleys, and climaxes. Tracks like ‘Cheeki Breeki’ playfully evoke cartoon chases reminiscent of Tom and Jerry, while ‘Big Machine’ depicts a machine's gradual breakdown and ‘Galactose Intolerant’ humorously explores IBS in space. Drawing from a rich palette of influences—from the playful vibe of The Aristocrats and modern prog fusion bands like Plini and Intervals, to classic prog icons such as Genesis — Ferret infuses their music with a mix of jazz funk, progressive elements, and inventive twists. Ferret have been cooking up their unique blend of prog rock since 2016, and currently dishing out sonic goodness with Anthony on guitar, Mark Andrew on drums and Owen on bass. Known for their energetic live shows, Ferret first hit the stage at Sickfest 2016, where they served up their signature sound. Their flavorful performances continued at events like Prog the Islands, Rock the South, and Farsons Beerfest, each gig a feast for the ears. In 2019, Ferret had the opportunity to support Dream Theater, showcasing their ability to hold their own alongside one of the genre's greats. With a sound that combines heavy riffs, intricate rhythms, and a pinch of improvisation, Ferret has solidified their place in the local music scene. Whether they're cooking in the studio or serving it on stage, Ferret is a band that knows how to keep their audience coming back for seconds. After a brief hiatus due to the pandemic, Ferret reunited in 2022, simmering their old recipes and cooking up new ones. Now, with a flavourful EP on the horizon, they're ready to serve the world once again! STREAM HERE Copyright (C) 2024 Kewn Records. All rights reserved

Heavy Metal, in most of its sub-genres, is a rebellious brand of music and often the imagery used for band logos and album artwork reflects this mentality.  Pentagrams, inverted crosses and such symbols are frequently in use.   As Ian Christe, author of Sound of the Beast: The Complete Headbanging History of Heavy Metal says, “Heavy metal design is not a monolithic form at all. You have everything from junior high school kids in Iowa drawing skulls and pentagrams and band logos to Norwegian design houses making skulls and pentagrams and band logos. There are all levels of sophistication and intention—and execution.”   Today I wanted to focus specifically on the image of Baphomet, whom many associate with Satan or Lucifer, which is not the case.      Baphomet and the Knights Templar – The Origins The first written reference to Baphomet appeared in a letter by French Crusader Anselm of Ribenmont, who was writing during the siege of Antioch during July 1098:   As the next day dawned, they [i.e. the inhabitants of Antioch] called loudly upon Baphometh; and we prayed silently in our hearts to God, then we attacked and forced all of them outside the city walls.   Most probably what Anselm of Ribenmont heared the Antiochians shouting was Muhammad, which he mistook for Baphometh.  He was not the only to make the association.  Raymond of Aguliers, who chronicled the First Crusade (1096 – 1099), reports that troubadours used the term Bafomet as a substitute for Muhammad and Bafumaria instead of mosque.  The troubadour Gavaudan, around 1195, uses the name Bafometz in the Provencal poems Senhors, per los nostres peccatz .  Another clear substitution of Bafomet for Muhammad can be found in another Provencal poem, penned by Austorc d’Aorlhac around 1250, lamenting the defeat of the Seventh Crusade (1248-1254).  There are other references which I will not be going into.   Baphomet came to the forefront when King Philip IV of France, with the blessing of Pope Clemet V, arrested and put to torture the Knights Templar.  It all was coordinated to happen on Friday, October 13th, 1307, giving the day such a dark connotation.  Over 100 different charges had been leveled against the Templars including heresy, homosexual relations, degrading the cross and sodomy.  The Knights Templars had amassed huge riches since their humble beginnings and some historians are of the opinion that the King of France, greatly in debt, was after their money to finance his battles.  The history of the Knights Templar is very interesting, but it would take a shelve of books to scratch the surface.   Under torture one will say anything to make the pain stop.  The name Baphomet came up in several confessions obtained from the Knights Templar.  The confessors, administering torture, tried their best to obtain information as regards the Templars’ secret initiation ceremony and their alleged worship of a heathen idol-head known as Baphomet.  Whilst some Templars denied any knowledge, others described it as a head with three faces or a severed head of a cat.  The claim of worshipping and idol under the name of Baphomet were unique to the inquisition of the Knights Templar.    Thomas Wright, in The Worship of the Generative Powers  (1856), writes:        “Gauserand de Montpesant, a knight of Provence, said that their superior showed him an idol made in the form of Baffomet; another, named Raymond Rubei, described it as a wooden head, on which the figure of Baphomet was painted, and adds, "that he worshipped it by kissing its feet, and exclaiming, 'Yalla', which was", he says, "Verbum Saracenorum", a word taken from the Saracens. A Templar of Florence declared that, in the secret chapters of the order, one brother said to the other, showing the idol, "Adore this head—this head is your god and your Mahomet."   It might be that the reference to Baphomet in the charges has more to do to apostasy to Islam, than to Satanism, in the case of the Templars.  Some of the Templar members were absolved and integrated in other orders, whilst some were not so lucky and burned at the stake.  The most prominent being their Grand Master Jacques De Molay and the Preceptor of Normandy Geoffroi de Charney, who recanted their confessions but nevertheless, on insistence of King Philip IV, were put to the flames in Paris on March 1314.  This was not the end of the Templars, their legend lives on and until this very day their name is mentioned in many a tale of conspiracy.   The 19th century   During the occult revival of the 19th century, Baphomet came into prominence again during debate on the reasons for the suppression of the Knights Templar.  It was common belief amongst Medieval Christians that Muslims were idolatrous and worshipped Muhammad as a god Mammet, a corruption of Mahomet, took the meaning of idol or false god in English).    Within “Symbols and Symbolism”, published as part of Freemasons’ Quarterly Magazine (1854), the anonymous author writes:   “ What properly was the sign of the Baffomet, "Figura Baffometi", which was depicted on the breast of the bust representing the Creator, cannot be exactly determined ... I believe it to have been the Pythagorean pentagon (Fünfeck) of health and prosperity: ... It is well known how holy this figure was considered, and that the Gnostics had much in common with the Pythagoreans. From the prayers which the soul shall recite, according to the diagram of the Ophite-worshippers, when they on their return to God are stopped by the Archons, and their purity has to be examined, it appears that these serpent-worshippers believed they must produce a token that they had been clean on earth. I believe that this token was also the holy pentagon, the sign of their initiation (τελειας βαφης μετεος).”      Other scholars who contributed to this debate were Émile Littré (1801–1881) and Hugh J. Schonfield (1901–1988).  In 1818, the Viennese Orientalist Joseph Freiherr von Hammer-Purgstall, mentions Baphomet in the elaborate essay "Discovery of the Mystery of Baphomet, by which the Knights Templars, like the Gnostics and Ophites, are convicted of Apostasy, of Idolatry and of moral Impurity, by their own Monuments".   Éliphas Lévi and the image we are familiar with. Alphonse Louis Constant was born on 8 February 1810 in Paris, France.  He was an esotericist, poet and writer.  After pursuing an ecclesiastical career in the Catholic Church, he became disillusioned and in his mid-twenties and left the Church to become a ceremonial magician.  Aged 40, he began professing a knowledge of the occult and wrote over twenty books on magic, Kabbalah, alchemical studies and occultism under the pen name of Éliphas Lévi, an anagram of his given names Alphonse Louis into Hebrew.  I am not going through his life and works as that would require much more space that one would imagine.   Éliphas Lévi is responsible with further associating Baphomet with the occult as in his book Dogme et Rituel de la Haute Magie (Dogma and Rituals of High Magic), published in two volumes (Dogma 1854, Ritual 1856), he included an image, drawn by himself, which he described as Bophomet and “The Sabbatic Goat.”   This image became the best known representation of Baphomet.  But what did the author himself had to say about the symbolism he was trying to convey? “ The goat on the frontispiece carries the sign of the pentagram on the forehead, with one point at the top, a symbol of light, his two hands forming the sign of occultism, the one pointing up to the white moon of Chesed, the other pointing down to the black one of Geburah. This sign expresses the perfect harmony of mercy with justice. His one arm is female, the other male like the ones of the androgyne of Khunrath, the attributes of which we had to unite with those of our goat because he is one and the same symbol. The flame of intelligence shining between his horns is the magic light of the universal balance, the image of the soul elevated above matter, as the flame, whilst being tied to matter, shines above it. The beast's head expresses the horror of the sinner, whose materially acting, solely responsible part has to bear the punishment exclusively; the soul is insensitive according to its nature and can only suffer when it materializes. The rod standing instead of genitals symbolizes eternal life, the body covered with scales: the water, the semi-circle above it: the atmosphere, the feathers following above: the volatile. Humanity is represented by the two breasts and the androgyne arms of this sphinx of the occult sciences .”   — Éliphas Lévi, Dogme et rituel de la haute magie   Once again, as explained by the author himself, the image has nothing to do with Satanism, yet the Catholic Church gave it that association through its crusade against anything that goes against it’s dogma.  Rock and heavy metal received their fair share throughout the years.    Association with witchcraft and the Devil Lévi believed that what witches were worshipping during their sabbaths during the middle ages, was not the devil, but a perpetuation of ancient pagan rites.  Since the dawn of time, male goats were held in reverence by many cultures but this image was morphed to represent the devil or Lucifer by the Catholic Church.  Anything pagan or with association to the occult was deemed to be Satanic and thus must be destroyed.  The campaigns of the Catholic Church and its associates on pagans, heretics, witches, people of different sexual orientation etc, requires a book of encyclopedic proportions.  To be fair, the Catholic Church has distanced itself from such persecutions and admitted the wrongdoings, but some battles are still being fought.      Baphomet and Heavy Metal Let’s call a spade a spade.  There are sub-genres of metal that propagate Satanism but most prominent bands that were accused of having this association are innocent of all charges.  Artwork associated with metal records is associated with the shock factor and images related to the occult, monsters and gore are not rare.  This does not mean that the band is Satanic.  For the sake of this article, I am not focusing on the history of the use of such imagery as album cover artwork, as that would take ages.  I have limited myself to choosing a few artworks depicting image of Baphomet or works inspired by this figure.    From the middle ages to our time, for different rhymes and reasons, the goat still rules supreme. Albums Angel Witch (Apart from adopting Baphomet as part of their logo, they used the image on Flight Nineteen demo) - 1980 References: Baphomet  (Wikipedia) Knights Templar  (Wikipedia) Thomas Wright, The Worship of the Generative Powers  (1856) Ian Christe, Sound of the Beast: The Complete Headbanging History of Heavy Metal  (2004) Éliphas Lévi  (Wikipedia)

Winter Moods, a cornerstone of Maltese rock, was formed in the mid-1980s and has since become one of the island's most revered bands. Over the past three decades, the group has produced five acclaimed albums and achieved record-breaking attendance at two monumental concerts, solidifying their place as a household name in Maltese music. Winter Moods emerged from humble beginnings, born out of jam sessions in a garage in Senglea during the cold, grey days of the mid-1980s. The band was founded by bassist Joseph Rizzo, guitarist Steve Caruana Smith and singer was Jesmond Attard, who was later replaced by a young Ivan Grech. The melancholic atmosphere of their early practice sessions inspired the name "Winter Moods," reflecting the mood they sought to convey through their music. Mark Doneo, the singer of Dream Valley, was asked to lead the band's emerging lineup after original vocalist Ivan Grech emigrated to Australia in 1987. This opportunity thrust Doneo into the spotlight, establishing him as one of the country's top rock singers. Unfortunately, the band faced a setback when they were invited to perform at an International Rock Festival organized by RAI TV but missed the opportunity due to a misunderstanding. This incident became a turning point for Doneo, who felt disillusioned and chose to leave the band in 1989 to pursue a solo career as a singer-songwriter. He went on to perform at various festivals and venues across the island, including Il-Festival tal-Kanzunetta Maltija and Il-Kanzunetta Maltija għall-Ewropa. Later, when Ivan returned to Malta, he resumed his role as the band's frontman. In their early years, Winter Moods were driven by a relentless passion for music, practicing tirelessly to carve out a space in Malta's vibrant yet competitive music scene. Their original compositions quickly gained a following, setting them apart from other local bands that came and went. The band's momentum began to build in the 1990s with the addition of keyboardist Etienne Robinich. Their first single, "Sarah," became an instant hit and remains one of their most beloved tracks. This success was followed by the release of their self-titled debut album, Winter Moods, in 1996. The album captured the band’s early influences and laid the groundwork for their future success. In 1997, guitarist Melvin Caruana joined the band, completing the lineup that would define Winter Moods’ sound. The turn of the millennium saw the release of their second album, Morning Ale (2000), which included hits like "Jamaica," "Ride," and "Everyday Song." The latter was later awarded the Best Song of All Time by the Bay Music Awards in 2005, a testament to its lasting impact on Maltese music. Winter Moods continued their ascent with the release of Butterfly House in 2003, featuring the hit single "Come To You." The album quickly topped local charts, reinforcing the band’s growing influence. Their fourth album, Ordinary Men (2006), marked a new peak in their career. Featuring the iconic track "Marigold," this album became their best-selling work and is often regarded as their magnum opus. However, the band faced changes during this period as guitarist Steve Caruana Smith and drummer James Vella departed. In 2009, Karl Fenech joined as the new drummer, completing the lineup that would take Winter Moods into their next chapter. The following year, they celebrated their 25th anniversary with the release of their fifth album, Argento (2010). To mark the occasion, Winter Moods held a monumental concert at The Granaries in Floriana on July 30, 2010, drawing over 10,000 fans—the largest crowd ever recorded for a Maltese band at a paying concert. This event broke their previous record set in 2008 when they performed in front of 7,500 people at the Valletta Waterfront. Winter Moods’ reputation extended beyond Malta, leading to performances at various international music festivals. In June 2000, they played at the Belfort Rock Festival in France, and in September 2002, they participated in the National Youth Rock Festival in Cyprus. By July 2003, they were invited to perform at the Hard Rock Café in Rome. Their success continued in 2004 when they won a competition on the German radio station WDR2, earning them a spot at the Ring Fest in Cologne, Germany. Throughout their career, Winter Moods shared the stage with global music icons, including Bryan Adams, Elton John, Roger Hodgson (formerly of Supertramp), Bob Geldof, and Deep Purple. A particularly memorable collaboration occurred when they performed alongside the SAS Band, featuring Queen’s Spike Edney, Paul Young, and Chris Thompson. Ivan Grech even had the opportunity to sing "Crazy Little Thing Called Love" with the band, a highlight in their storied career. Winter Moods also made their mark on the Isle of MTV Malta Special, performing alongside international stars like Maroon 5, Enrique Iglesias, and Akon. In 2007, they supported the CiaO’Scia concert in Malta, featuring Italian legends Claudio Baglioni, Gianni Morandi, and Riccardo Cocciante. Baglioni even joined Winter Moods on stage to sing their hit "Marigold," creating a historic moment in Maltese music. Over the years, Winter Moods have garnered numerous awards, including six Best Band titles at the Malta Music Awards (1997, 2001, 2003, 2007, 2008, 2010). Their iconic song "Marigold" won the Best Song award in 2007, and they received the same honor in 2010 for "My Neverland." Ivan Grech, the band's frontman, was recognized as Best Songwriter in 2007 and 2010. In 2008, Winter Moods received the prestigious Legends Award, marking the first time this honor was bestowed. The Bay Music Awards also recognized the band's significant contribution to Maltese music, awarding them the Icon Award in 2004. In 2005, they won Best Single of the Year for "Closer" and Best Single of All Time for "Everyday Song." Their dominance at the Bay Music Awards continued in 2007, when they took home awards for Best Band, Best Song ("Marigold"), and the Viewers' Choice. The legacy of Winter Moods was marked by a significant loss on October 9, 2012, with the passing of Steve Caruana Smith, one of the band’s founding members. Caruana Smith, who was instrumental in shaping the band's sound and success, passed away at the age of 51. His contributions to Winter Moods spanned two decades, during which he played on four albums— Winter Moods (1995), Morning Ale  (2000), Butterfly House  (2003), and Ordinary Men  (2006)—as well as two EPs, Fool For An Angel  (1998) and Closer (2005). He also performed with the band at major international venues, including in France, Germany, and Italy. In a heartfelt tribute, Winter Moods said, "Steve was a brother to us; he was one of a kind. He was an important part of Winter Moods' history, an icon to many, and loved by everyone who knew him. We will miss him, his music, and his humor. He may be far away, but he will forever remain close to us" Winter Moods' influence on Maltese music is profound and enduring. Their blend of heartfelt lyrics, melodic compositions, and compelling performances has resonated with audiences for decades. The band’s journey from a cold garage in Senglea to performing on international stages is a testament to their talent, dedication, and the strong connection they have with their fans In recent years, lead singer Ivan Grech has explored a solo career, releasing the single "Somebody Like You" in 2019, followed by "(Let’s Get) High On Love" in 2023. Despite these individual pursuits, the legacy of Winter Moods as a band remains unshakeable, their music continuing to inspire both new artists and long-time listeners in Malta and beyond. Bibliography Winter Moods . (n.d.). Winter Moods: Official Website . Retrieved from https://www.wintermoods.net/ . Times of Malta . (2012, October 10). Popular Bands Winter Moods Announced the Passing of Its Former Guitarist Steve Caruana Smith . Retrieved from Times of Malta . Bay Music Awards . (2005). Award for Best Single of All Time . Retrieved from Bay Music Awards Archive. M3P.com .