ALL HANDS LOST ANNOUNCE NEW EP MERIDIAN, OUT 25 AUGUST 2026 Single "Mantra" released 11 August 2026 Maltese instrumental progressive metal outfit All Hands Lost are set to release their second EP, Meridian, on 25 August 2026, preceded by the lead single "Mantra" on 11 August 2026. The EP will be available on all major streaming platforms and Bandcamp. Meridian marks a significant moment in the band's catalogue. Where recent standalone singles saw All Hands Lost exploring new sonic territory and pushing the boundaries of their sound, this six-track collection doubles down on the melodic sensibility, atmosphere, and immersive soundscapes that have always defined the project, while reflecting a more deliberate and refined compositional approach than anything that came before. The result is a record that feels cohesive and intentional, with listeners who heard the debut noting how naturally the songs flow into one another. Thematically, Meridian moves through contrasting emotional states; affirmation, dread, acceptance, struggle, and ultimately a kind of heavy-hearted resolve. The tracklist reflects that arc across six pieces that range from guitar-driven ambience to moments of intense, driving heaviness. TRACKLIST 1. Mantra 2. The Shadows Lengthen 3. Yield 4. Meridian 5. Harrow 6. Hiraeth Meridian was entirely self-produced by Jean Vella, who handled all guitar, recording, mixing, and mastering duties, an approach that has always been central to All Hands Lost's identity, enabling the kind of experimentation and sonic variety that defines the project. Bass duties on the EP were handled by Claudio Toscano, whose contributions have been a key part of the All Hands Lost sound since the debut EP. ABOUT ALL HANDS LOST Founded in 2020, All Hands Lost is an instrumental progressive metal project with elements of progressive rock. Originally launched as a solo project by Jean Vella, the project has since grown into a collaborative effort, embracing melodic soundscapes, intricate guitar work, and introspection, balancing heavy-hitting technicality with deeply emotive elements. CONNECT WITH ALL HANDS LOST Instagram:@all.hands.lost Facebook:https://www.facebook.com/allhandslost YouTube:www.youtube.com/@allhandslost4531 Spotify:https://open.spotify.com/artist/473l3WgrEAou3vo8sERXBy Bandcamp:https://allhandslost.bandcamp.com/ For press inquiries, interviews, or further information, contact allhandlost.music@gmail.com

Malta’s underground scene keeps getting richer, but it often feels as if there is no proper place to accommodate it. Malta's newest underground music event, Subterranean, is putting community at the heart of everything. With a mission to uplift emerging artists and give Malta's underground music scene the platform it deserves, it aims to create a recurring space outside of the mainstream circuit built by the scene, for the scene. The first edition takes place on 23rd August at The Garage, bringing together three of Malta's most exciting underground acts. Sry4.wav, Malta's first and only cloud-rap collective, will be taking to the stage for a live performance, joined by DJ sets from Rockstariq and Psychic with focus on trap and EDM, showing the depth and diversity of what Malta's underground has to offer. Ukrainian streetwear brand Okrug 31, based in Malta and a familiar name within the local skateboarding community, will be present on the night as a vendor, bringing the skate and music communities together under one roof. Subterranean is not just a one-off. It is the beginning of something much bigger: a recurring platform with ambitions to grow alongside the scene. The first edition is completely free through RSVP. Get your name on the guestlist here, and discover what Malta’s underground has to offer.

Smashed to Shit launches GrintaFest, a new festival celebrating Malta’s punk community. The team behind Smashed to Shit: The MaltaPunks Zine is launching GrintaFest, a new DIY music festival dedicated to Malta’s punk scene. Taking place on the 21st of September at Tigullio, the festival is an extension of the ethos that has shaped Smashed to Shit: creating opportunities for local bands and bringing people together through DIY culture. GrintaFest will feature a lineup of Maltese punk bands spanning different generations and styles, including BRUDA, 5 Years From Now, BILA, the long-awaited return of Il-Pupi tal-Logħob, Batteries Not Included and the debut performance of Il-Banda ta’ San Ċipress (Xtruppaw Tribute Band). The lineup was officially unveiled during the launch of Smashed to Shit #3, where attendees were given an exclusive first look before it was announced online. The festival will also host the election of the MaltaPunks President, and attendees will be expected to ‘vote’ in their new leader. Festival Highlights GrintaFest is built around the same values that inspired Smashed to Shit. Expect a full day of live performances from some of Malta’s top punk bands, alongside a celebration of the community that continues to keep the scene alive. With the festival taking place on a public holiday, GrintaFest offers the perfect opportunity for punks and music lovers to make most of the long weekend. Inspiration for GrintaFest GrintaFest was inspired by the punk festival Festaħwid created by ‘iż-Żgħiru’, which became a yearly event in Malta’s punk scene. Built around local bands, the festival later also expanded to include international acts. More importantly, it served as a platform for emerging artists, giving several bands, including Xtruppaw, their first opportunity to perform live. That legacy inspired the team behind GrintaFest to create something for today’s generation. The festival celebrates the rich history of Maltese punk while providing a stage for the next wave of band. By bringing together different generations of musicians and fans, GrintaFest aims to honour the past while helping shape the future of Malta’s punk scene. About GrintaFest GrintaFest is an independent DIY festival organised by the team behind Smashed to Shit: The MaltaPunks Zine. Created by members of Malta’s punk community, the festival exists to support local bands and provide a platform for the people who sustain the scene. Like the zine, GrintaFest aims to support the punk community while proving that DIY culture remains as relevant and necessary as ever. For tickets and information, follow @grintafest on Instagram or contact the team on Facebook (Smashed to Shiiit).

Interplay, showcased at Spazju Kreattiv for ICA Festival 2026, is a magazine that puts graphic design and music side by side, featuring interviews with Maltese musicians Mark Abela, Samwel Mallia, and Ben Bailey. I spoke to Jerome, a graduating BA (Hons) Graphic Design student at MCAST, about his dissertation project, and why he believes design is a pivotal, often invisible, part of how we experience music. S: What inspired you to revolve your project around music, especially as a graphic design student? J: From a young age, I've always been into listening to and collecting music, especially physical formats, being vinyl records, and CDs. And a big inspiration of mine is researching the designers and artists behind these album covers, posters, and other visual materials, and exploring the connection between them and the musicians and what kind of brings music together as a whole. S: So, was there a specific album cover, a poster, or any other design form that was music related, that you kept coming back to during research or that was actually your specific inspiration to do this entire project? J: My biggest inspiration is David Carson, a graphic designer, who's most well-known for Ray Gun magazine, which was a music and pop culture kind of magazine that combined both information and art together into one thing. It featured names of David Bowie, Bjork, and other left-field, punk and alternative musicians Researching this magazine influenced the style of Interplay, and even how I collected data, and showcased it. S: So, the concept of your magazine is similar, combining art and information, which I think you did a really good job at. It’s really, really interesting. And, on the topic of these older artists, what year were your favourite pieces produced design-wise? J: For the design aspect of this magazine, I think I would look a lot at Blonde (2016) by Frank Ocean, as the cover for the vinyl and CD influenced the way that I shaped this magazine a lot. And even some of the works from Aphex Twin, his alternative and minimalistic approach, mixed together. S: For you personally — because I think everyone's experience with this is different — how does the visual side of music, whether that's album art or something else, shape the way you experience the music? J: You cannot see just the music. It's both the music and the visuals that create the musician and the art that you experience from both album covers to concerts, and there are the ties in between. You cannot have a metal album without the metal aesthetic. For example, ACDC, or Metallica, or Kiss, with those rugged fonts, and dark, gloomy aesthetics. But then you look at pop albums, for example, Madonna, Zara Larsson, or Pink Pantheress, who are popular these days, which have a much brighter and simplistic look to their genre. It's looking both at the visuals and the music, combining into one. It's what makes music, music. It's not just the audio. S: And what do you think of an artist that on purpose chooses to have the artwork for their music, completely contrasting to the genre? J: I think someone that's a very, very popular example at the moment would be Charlie XCX with her album Brat. When that album cover came out, everybody was so shocked and weirded out by how ugly, quote unquote, it is compared to most pop album covers. Meanwhile, she's one of the biggest pop stars in the world. And the way that that simplistic, ugly design changed a lot of how graphic design is looked at in music right now, and even a lot of influences, even locally, kind of take from it. It just makes me think that sometimes you need to bend the rules a bit to make the biggest impact. S: That's very interesting, because Brat has actually become a whole brand now, and people see it, and they immediately think of Charli, when they first saw it, they were like, ‘this is not like Charli at all’. And now it's become her entire thing. Now, you were just talking about how there's a kind of ritual of the album cover fitting with the music, and there's a very human aspect to that. But AI is an inevitable conversation, right? Every day I'm seeing AI generated album covers, so, do you think that’s changing the authenticity of the music? J: Definitely. The issue is that the people who do use AI album cover art, treat it less as its own individual thing, adding onto the music, and more as just a label for the music, something that's just there. It’s not adding anything to the creativity or the humanity of the music. And it's kind of creating a wall for creatives to work with each other and limiting the potentials of creativity of both musicians, designers, and artists. S: I think what people may fail to see is that the music industry is not comprised of just the musicians, it's comprised of photographers, videographers, the concept of music videos, and even music videos are getting AI generated nowadays. J: Everybody has a basic understanding of music history, but not enough people know about what goes into making the visuals of the music. So, if I name these graphic designers, for example, Paula Scher, who worked for CBS Records, not a lot of people know about her, even though she worked on a lot of album covers. It's kind of hard to see this lack of knowledge, so I want to push this project to bring more awareness and hopefully get more people to research this field. S: Was there a specific thing you learned through your research that really stuck out to you or changed your viewpoint on something? J: Yes, actually. So, in my magazine, I have three separate interviews with Ben Bailey, who is a guitarist and singer for Vinyl Paradise, Ira Losco, Mark Abela, who is the front man of punk band Brodu, and Samwel Mallia, who is both a graphic designer and a musician himself, being in both Bila and Eyes to Argus. From what I had talked to them about, it's surprising to see that their influence was not coming from Malta itself, but actually outside of Malta. For example, Samwel currently works in music and design, and his inspirations came all the way from Dragon Ball Z. Mark got inspired by left-field music, especially artists like Aphex Twin and all these kinds of alternative singers and artists. Ben Bailey was inspired by Guitar Hero, the video game, to start playing music. So, it's really interesting to see how outside culture, that comes into Malta, makes these artists. S: What section of the magazine would you say you loved working on the most? J: I think it was realistically just the interview section. Speaking to Ben, Mark, and Samwel, was so in depth, and it taught me a lot, not just about how they create music, but even local history, that not a lot of people know about. And it's interesting to see how these people have created music over the past decade or two, and how they've kind of created Maltese history without even realizing it. And I think it's something that needs to be talked more about. Music and journalism, being put together, needs to be more of a common thing, where it's less just promoting music, but even talking about the process and the meaning behind these songs, the meaning behind these artists and what they do and what they bring to Malta as a country, and what we can push further in terms of creativity. S: And now you’ve created a tangible archive of these artists and their work and their influence on the country, which is amazing. Tying directly into what you just said, this kind of combination between design and journalism. Interviewing people probably isn't something you do often as a graphic designer. What was the experience like stepping outside of your usual bubble of designing to interview people? J: So, journalism has always been a thing at the back of my head, which I've loved. My grandfather, Saviour Casabene, had worked for the Times of Malta during his time as an artist and as a businessman, where he had written some pieces for them talking about art. In secondary school, I had worked with TVM for my work experience for 2 weeks. It taught me a lot about journalism, and even earlier this year, where I attended the International Journalism Festival in Perugia. It pushed me a lot into understanding how journalism works and how to be an effective journalist and ask the important questions that need answers. So while it was very difficult as a process, going from graphic designer to an interviewer, I think it was a not a totally out of world experience for me, but something that I had worked on, worked on, worked on, until I got to this point where I think I did very well. Even the interviewees themselves, were really amazed at what I had asked them and what we had talked about. S: You seem to have had an overall very positive and rewarding experience creating this magazine, but would you say that there was a big struggle that you faced trying to make it come to life and how did you push through? J: The biggest struggle was just the time limit when it came to the dissertation and submission. There was an issue where my lecturer had an accident, and for about a month and a half, I realistically couldn't do much work, because I had that lack of guidance that I really needed. So, there were a lot of last-minute changes through the magazine in terms of editing, writing, and even design changes that were made. When I look back now, there are some things about it that I would change, but I think acknowledging these difficulties and these kind of errors, in a way, kind of make the magazine more unique, and more adhering to that kind of punk and artistic kind of look that, especially David Carson aimed for, both art information, and creating a beautiful chaos of sorts. S: We had already spoken about somebody who's a graphic designer or interested in this world picking this up and saying, oh, wow, I didn't know that this field of work was a possibility. But is there anything else that you hope someone working in either music or design or even journalism takes away from this? Or even somebody who is not in any of these worlds, what do you hope that they can still take away from Interplay? J: The magazine serves kind of two purposes. Education and artistic enjoyment. I think overall, what I hope from Interplay as a whole, it teaches people about the history of design and music, both in an international aspect and a national aspect, inspiring even those outside of design, music, and journalism to contribute further, and maybe even delve into these fields. And overall, I hope that it pushes more for people to talk about the artistic and visual side of music. and inspire more in-depth conversations and even serve as a record of Maltese history within music, as it's not talked about enough. And I think it is something that we need to start teaching, to students and even talking more about in the media. S: Creating album covers for artists, is it something you'd want to do? J: I have always wanted to do it, and honestly, I think at some point in my life, I will probably do it. I love album covers. I love CDs, I love all of this kind of design world. I think the best thing about design and music put together is just the conversations and the collaboration between me, the artists, and the musician and what we create together. And overall just making pieces that you can look at the cover and listen to the music and say, wow, this really reflects what's going on as an overall experience. S: So if there's any artists looking for a designer, I can send them your way! --- ICA Festival 2026 exhibitions are open until August 16th. For more on Jerome's work, or to order a copy of Interplay for yourself, visit his website here and reach out through the contact details provided.

Twenty years after their formation, doom metal institution Nomad Son stand as one of the island’s most significant contributions to the international heavy metal underground. Emerging in 2006, the band transformed a shared passion for the darker, heavier side of rock and metal into a distinctive sound that carried the spirit of classic doom into the modern era. Their journey from a local project born out of friendship and experimentation to a respected name on the global doom circuit is a story of perseverance, artistic conviction and an unwavering devotion to heavy music. Doom Shall Rise 2010 - photo Robert Azzopardi The origins of Nomad Son can be traced to a meeting of experienced Maltese musicians brought together by producer David Vella of Temple Studios. While recording and producing heavy rock outfit Frenzy Mono, Vella recognised a deeper, darker dimension in the musicians’ sound and encouraged the development of a doom-oriented project. The idea soon expanded with the involvement of bassist Albert Bell, already a veteran figure in Maltese metal through his work with the acclaimed doom band Forsaken. The chemistry was immediate, and the first studio explorations produced the Hammond-driven, heavy doom foundations that would become the unmistakable identity of Nomad Son. From the beginning, the band drew inspiration from the giants of traditional doom and classic heavy music, embracing the crushing weight of Black Sabbath, the epic grandeur of Candlemass, the darkness of Pentagram and the atmospheric qualities of bands such as Trouble, Saint Vitus and Deep Purple. Yet Nomad Son never existed simply as a tribute act. Their music combined those influences with a unique Maltese character, dramatic keyboards, powerful riffs and themes exploring mortality, apocalypse, spirituality and the human condition. After recording two songs in 2007, “Shallow Grave” and “Empyrean Fade”, the band attracted the attention of Metal On Metal Records, who offered them a deal. Their debut album, First Light, arrived in 2008 and immediately announced Nomad Son as a serious force within the doom community. The album’s mixture of crushing traditional doom, seventies-inspired atmosphere and epic songwriting earned strong reactions internationally, strengthened Malta’s metal scene to listeners far beyond the Mediterranean. 'The Darkening' album launch gig poster First Light was more than just a debut; it became the foundation of the band’s reputation. Songs such as “Forever Twilight”, “Seven Notes in Black”, “The Wraith” and “The Light at the End” showcased a group capable of balancing slow, ominous passages with more dynamic, driving moments. The album’s success led to a vinyl edition in 2009 and live appearances across Europe, including performances in Germany and the Netherlands, as well as appearances connected with major underground doom events. Nomad Son followed that breakthrough with The Eternal Return in 2010, an album that expanded their sound while strengthening their reputation. Darker, more atmospheric and rich with Hammond textures, the record explored themes of decay and spiritual struggle while maintaining the heavy traditional doom foundation that had become their trademark. The album was widely recognised within the doom metal scene, receiving year-end praise from underground metal communities and helping cement the band’s position internationally. The years surrounding The Eternal Return also saw Nomad Son become a formidable live act. The band performed extensively in Malta and abroad, appearing at festivals and events including Hammer of Doom in Germany and other respected European doom gatherings. Their live performances reinforced the idea that Nomad Son were not merely studio musicians but a band capable of delivering the full emotional weight of doom metal on stage. Elements Of Rock 2013 - photo Loudpix In 2013, the band released The Darkening, continuing their evolution by adding further shades of seventies hard rock, New Wave of British Heavy Metal influence and classic heavy metal intensity to their already established doom foundation. The album demonstrated that Nomad Son were not content to simply repeat their previous achievements; instead, they continued to explore the boundaries of traditional doom while preserving the atmosphere and identity that had earned them a loyal following. That same year also saw the release of First Light / Pilgrimages of Doom, a special edition combining their debut album with live footage documenting the band’s international journey. Featuring performances from events such as Hammer of Doom and Doomsday IV, the release captured an important era in the band’s history and served as a testament to their growing presence beyond Malta’s shores. Valletta 2019 - photo Victor Vella Over two decades, Nomad Son have achieved something rare: they have remained true to a specific musical vision while earning recognition far outside their home country. In a genre built on atmosphere, authenticity and emotional weight, the band’s greatest strength has always been their ability to create music that feels timeless rather than tied to a particular trend. Their songs carry the influence of metal’s past but speak with their own voice, shaped by the island environment and the experiences of the musicians who created them. The band’s legacy is also closely tied to Malta’s wider heavy metal history. Alongside acts such as Forsaken and other pioneers of the local scene, Nomad Son helped prove that a small island nation could produce doom metal capable of standing proudly on the international stage. Their success opened doors and inspired listeners and musicians who discovered that heavy music could emerge from anywhere. live 2023 - photo Konstantin Delles As Nomad Son celebrate twenty years together, they represent more than a band with a respected catalogue. They represent commitment to an uncompromising sound, the strength of Malta’s underground metal culture and the enduring appeal of doom itself. Two decades after those first dark and heavy beginnings, the journey continues — still slow, still powerful, still unmistakably Nomad Son. As Nomad Son celebrate twenty years since their formation, the band continues to demonstrate that their commitment to uncompromising, atmospheric doom metal remains as strong as ever. Adding to this milestone year, the band have recently been announced as part of the line-up for this year’s edition of the SoundArt Festival, where they will bring their unmistakable blend of crushing riffs, epic arrangements and dark atmospheres to the stage once again. Alongside this live appearance, Nomad Son are also putting the finishing touches to their forthcoming new album, a release eagerly anticipated by followers of the band and the wider doom metal community. Two decades into their journey, the band continue to look ahead, creating new music while celebrating the legacy they have built as one of Malta’s most respected metal exports.

On 3 July 2026, Mro Joseph Sammut would have celebrated his 100th birthday. Although he passed away in April 2024 at the age of 97, his influence on Malta's musical and cultural life continues to resonate through the generations of musicians he inspired, the ensembles he shaped, and the enduring institutions he helped build. Mro Joseph Sammut photo: Simon Sammut/Facebook Born in Valletta on 2 July 1926, Joseph Sammut was destined for a life in music. He grew up in a family where music was an integral part of everyday life. His grandfather was a double bass player, while his father, Vincenzo Sammut, was both a cellist with the British Royal Navy's Commander-in-Chief Orchestra and a bassoonist at the Royal Opera House in Valletta. Under his father's guidance, the young Joseph developed his musical talents before pursuing formal studies on the bassoon. His youth coincided with one of Malta's darkest chapters. During the Second World War, he witnessed the devastating aerial bombardments of Valletta, including the destruction of the Royal Opera House in 1942. Despite these hardships, his passion for music never faltered. At just eighteen years of age, Sammut joined the Commander-in-Chief Orchestra of the British Mediterranean Fleet as principal bassoonist. The orchestra represented the highest standard of professional orchestral performance in Malta, and his appointment marked the beginning of a remarkable career that would span more than seven decades. Mro Joseph Sammut photo: Simon Sammut/Facebook Determined to broaden his musical horizons, Sammut continued his studies in London. In 1952 he studied conducting under Clarence Raybould, followed a year later by further training with the renowned Sir Malcolm Sargent. He also attended the Guildhall School of Music, acquiring the skills that would later establish him as one of Malta's foremost conductors. Although his career began as an orchestral musician, circumstances soon led him to the conductor's podium. Following the retirement of Francis Bellizzi, Sammut assumed the conductorship of the Commander-in-Chief Orchestra. His greatest contribution came in 1968 when the British military orchestra faced dissolution. Through his vision and determination, he successfully secured the continuation of its musicians under the newly established Manoel Theatre Orchestra. This ensured that Malta retained a professional orchestra during a crucial period of transition. Maestro Sammut with the Chorus Melitensis photo: Simon Sammut/Facebook That orchestra evolved over the decades into the National Orchestra of Malta and eventually the Malta Philharmonic Orchestra. For this reason, Mro Joseph Sammut is rightly recognised as the founding conductor of today's Malta Philharmonic Orchestra, an institution that remains at the heart of Malta's musical life. Throughout his distinguished career, he held several prestigious appointments. He served as Musical Director of Chorus Melitensis between 1961 and 1978, led the Società Filarmonica La Valette from 1970 until 2006, and directed the Leone Band in Victoria, Gozo, from 1958 until 1991. His reputation also extended beyond Malta's shores, and in 1970 he conducted the Kyoto Symphony Orchestra in Japan, bringing Maltese musicianship to an international audience. The first performance of Sammut’s Requiem in St. John’s Cathedral, Valletta (1993) photo: Simon Sammut/Facebook Mro Sammut played a pivotal role in enriching Malta's concert repertoire. Under his baton, audiences experienced landmark performances of some of the greatest works in the choral tradition, including Verdi's Requiem, Fauré's Requiem, Dvořák's Stabat Mater, and Mendelssohn's Elijah. These performances significantly broadened the artistic horizons of local audiences and performers alike. His influence also reached the operatic stage. He conducted the inaugural concert at Gozo's Aurora Opera House in 1976 and, in January 1977, conducted Madama Butterfly, the first opera ever staged in Gozo. These achievements remain important milestones in the island's cultural history. While celebrated primarily as a conductor, Mro Sammut was also an accomplished composer. In the later decades of his life, he devoted increasing attention to composition, producing orchestral, choral and sacred works inspired by Malta's history, faith and national identity. Among his notable compositions are Heritage Suite, premiered by the Malta Philharmonic Orchestra in 2013, Adagio – Remembrance, written in memory of the victims of the COVID-19 pandemic, a Requiem dedicated to Independent Malta's first Prime Minister, George Borg Olivier, and the oratorios Canticles of St Luke and L-Assedju l-Kbir ta' Malta. Mro Joseph Sammut photo: Simon Sammut/Facebook Recognition for his immense contribution came throughout his lifetime. In 2023 he received the Ġieħ il-Belt award from the Valletta Local Council in acknowledgement of his outstanding service to the city and to Maltese culture. Remarkably, he continued conducting into his nineties, demonstrating an enduring passion and commitment that inspired colleagues and audiences alike. Mro Joseph Sammut passed away on 10 April 2024. Tributes poured in from across Malta's musical community, recognising not only an exceptional conductor and composer but also a visionary whose dedication ensured the survival and growth of professional orchestral music in Malta. As we mark what would have been his centenary in 2026, Mro Joseph Sammut's legacy stands as a testament to a lifetime devoted to music. His work laid the foundations for generations of Maltese musicians, and the institutions he nurtured continue to flourish. His name will remain inseparable from the story of Malta's musical heritage, serving as an enduring inspiration for future generations.

There are musicians who enjoy a brief moment in the spotlight, and there are those whose careers become woven into the cultural fabric of their country. Eric Anthony Charles Emmanuel Calleja, better known to audiences as Eric Ace, belongs firmly to the latter. As a guitarist, songwriter, composer, keyboard player and producer, Eric has spent half a century contributing to the evolution of Maltese popular music while continuously reinventing himself as an artist. In 2026, Eric celebrates an extraordinary milestone—fifty years since first picking up a guitar and embarking on a journey that would eventually see him perform on international stages, write some of Malta's most memorable original songs, receive numerous awards, and become one of the principal forces behind the legendary band X-Tend. The release of his debut solo album, Spin-Off, marks not only a celebration of an impressive career but also the beginning of an exciting new chapter. Born on 9 April 1962 in Gżira, Eric grew up during one of the most influential periods in modern musical history. The 1960s had transformed popular music forever through the arrival of The Beatles and the British Invasion, while the following decade introduced the flamboyant sounds of Glam Rock, progressive rock and the first wave of electronic experimentation. Like many young musicians of his generation, Eric was captivated by the energy, originality and freedom that these artists represented. Music quickly became more than simply a pastime. It became a passion that would shape every stage of his life. At just fourteen years of age, in 1976, he formed his first band, The Black Jacks, together with several school friends. Although youthful in age, the band provided Eric with his first real experience of performing, rehearsing and, perhaps most importantly, writing original material. Even then, his ambition extended beyond simply playing cover versions of popular songs. He wanted to create music that reflected his own imagination, emotions and identity. Those early years also saw him steadily refining his guitar playing while discovering the satisfaction that comes from composing songs from the ground up. It was a period of experimentation, learning and artistic discovery that would provide the foundation for everything that followed. A defining moment came in 1980 when Eric moved to the United Kingdom. For any aspiring musician, Britain at the beginning of the 1980s was an extraordinary place to be. The country was experiencing one of the richest and most diverse periods in its musical history. Punk had challenged convention and changed attitudes forever. New Wave was reshaping pop music through the use of synthesizers and fresh production techniques. The Mod revival was attracting a new generation of followers, while Ska experienced an international resurgence through the hugely successful 2 Tone movement. At the same time, the colourful New Romantics were redefining fashion and popular culture. Rather than following only one musical movement, Eric immersed himself in all of them. He absorbed influences from punk, new wave, ska, synth-pop, electronic music and alternative rock, developing an appreciation for the way different genres could be blended into something entirely original. The years spent in Britain became, in many respects, his real musical education. They broadened his artistic vision and equipped him with ideas that he would later introduce to the Maltese music scene. Returning to Malta in 1984 proved to be another decisive turning point. Popular disc jockey Godwin Debono invited Eric to join a newly formed New Wave band as guitarist. That band was X-Tend, a name that would soon become synonymous with originality, innovation and commercial success within Maltese popular music. Few could have predicted the impact that X-Tend would have over the following decades. Emerging during a period when Malta's music industry was still developing, the band distinguished itself through its commitment to producing original songs rather than relying solely on international covers. Their music combined rock instrumentation with electronic elements, polished production and memorable melodies, creating a distinctive sound that appealed to audiences both locally and abroad. Eric quickly became one of the band's principal creative forces. His contributions extended far beyond guitar playing. As both songwriter and keyboard player, he helped define the group's musical identity, crafting songs that balanced strong melodies with sophisticated arrangements while embracing the latest recording technologies. His ability to combine traditional rock instrumentation with synthesizers and contemporary production techniques gave X-Tend a sound that was modern yet unmistakably their own. Industry observers have often described X-Tend as one of Malta's pioneering contemporary pop-rock bands, recognised for helping raise production standards and for embracing ambitious projects that were relatively uncommon for local artists during the 1980s and 1990s. The group also became known for producing music videos at a time when very few Maltese acts were investing in such productions, helping bring a new level of professionalism to the local music industry. As X-Tend's reputation continued to grow, so too did opportunities to represent Malta overseas. Eric's career took him far beyond the shores of his home island, allowing him to perform and work in Italy, Monaco, France, Germany, Turkey, Tunisia and Australia. Among the highlights were appearances at the prestigious Ariston Theatre in Sanremo, participation in international music festivals, performances at Germany's renowned Popkomm music convention, and concerts at Turkey's magnificent ancient Aspendos Theatre accompanied by a forty-piece orchestra. These experiences were more than simply performances. They exposed Eric to different audiences, cultures and musical traditions, broadening his perspective as both a composer and performer. Each journey enriched his understanding of music as an international language capable of crossing geographical and cultural boundaries. Throughout this period, Eric continued writing songs that would become familiar titles to generations of Maltese music lovers. Compositions such as Midnight Sun, Deadly Dreams, Nightmares, Black Pagodas, Game of Life, Reach Out, Kartolini, I'll Always Love You, Dancefloor, Waiting For You and Eternal Kiss demonstrated remarkable versatility. Some reflected the melodic sophistication of synth-pop, others embraced rock, while several ventured into dance music and electronic experimentation. His songwriting consistently evolved alongside changing musical trends without ever losing its own distinctive character. Rather than allowing his earlier work to remain confined to the past, Eric has continued revisiting some of his best-known compositions. Recent reinterpretations of Nightmares, Midnight Sun and Game of Life demonstrate both respect for the originals and a willingness to present them to new audiences through contemporary production techniques. Recognition naturally followed his achievements. Over the years, Eric together with X-Tend has received numerous honours, including the Malta Oscars Award in 1987, victory at the Yamaha Keyboards Festival in 1990, Malta Music Awards in both 1997 and 1998, as well as repeated success in national music competitions. His songwriting also reached the finals of the Malta Song for Europe on four occasions, reflecting the consistent quality and popularity of his compositions. Perhaps one of the most meaningful acknowledgements came much later, when the Gżira Local Council presented Eric with a Lifetime Recognition Award in honour of his enduring contribution to Maltese music. Coming from the locality where his musical journey first began, the award carried a particularly personal significance. Despite an already remarkable career spanning five decades, Eric has never shown signs of slowing down. Instead, 2026 has become one of the most important years of his artistic life. On 10 July, exactly fifty years after first introducing himself as a musician, he released his long-awaited debut solo album, Spin-Off. The title itself reflects a fitting continuation rather than a departure. Although Eric has spent most of his career associated with X-Tend, Spin-Off presents an opportunity to showcase his own individual artistic voice while drawing upon the immense experience accumulated over fifty years of songwriting, recording and performing. The album has already attracted attention not only in Malta but also among listeners and vinyl collectors in the United Kingdom, Belgium, France, Monaco, Japan and Australia. Such international interest demonstrates that quality songwriting continues to transcend national boundaries and confirms the enduring appeal of Eric's music. Looking back over five decades, Eric Calleja's career mirrors the remarkable evolution of the music industry itself. He has experienced the era of vinyl records, cassette tapes, analogue recording studios, compact discs, digital downloads, online streaming and, more recently, the revival of vinyl as a cherished format for music enthusiasts. Throughout these dramatic technological changes, one thing has remained constant: his commitment to writing honest, memorable music. His contribution cannot be measured solely through awards or chart success. It lies equally in the influence he has had on Maltese popular music, in the standards he helped establish alongside X-Tend, and in the body of original work that continues to inspire audiences decades after it was first written. From the young teenager forming his first school band in Gżira, to becoming one of Malta's most respected songwriters and finally releasing his first solo album after fifty years in music, Eric "ACE" Calleja has built a career founded on passion, perseverance and creativity. His story is not merely one of longevity but of continuous artistic growth. As Spin-Off introduces yet another chapter in an already distinguished career, Eric remains what he has always been: a musician driven not by nostalgia, but by the excitement of creating the next song. After fifty remarkable years, his journey is far from over, and his music continues to remind us that true artists never stop evolving.

“HAYA ĦDEJJA” Malta-based A-POP artist Bahjat has officially released the music video for his latest single "Haya Ħdejja" featuring Neïf and co-produced by Howard Keith Debono. The project forms part of a forthcoming European television production set to air this fall and expected to reach an audience of almost 1 million viewers in Europe, where Bahjat and Neïf were tasked with creating an original Maltese hit. Neïf will remain anonymous until the series airs, adding further intrigue to the collaboration. The release follows weeks of anticipation, media appearances, and growing buzz across the Maltese islands. Bahjat and Neïf have been featured across leading Maltese platforms including TVM's TVAM, TVM's Ilum ma' Steph, TVM Live, and TVM's Niskata, alongside heavy rotation on Magic Malta, Vibe FM, and Bay Radio, positioning "Haya Ħdejja" as one of the most talked-about local releases of the season. Just hours after the song's release, "Haya Ħdejja" reached #1 on the iTunes chart in Malta, making an immediate local impact. Speculation around the collaboration then intensified after the pair were spotted together in Mdina and later arriving at radio studios, with clips and images quickly circulating online and fueling anticipation. The momentum continued as Bahjat and Neïf filmed the official music video across some of Malta's most iconic locations, drawing attention from both locals and tourists. "Haya Ħdejja," which translates to "Come Here Beside Me," blends infectious Mediterranean energy with global pop production. Its use of Maltese, Arabic, and English marks a defining moment in Bahjat's evolving multilingual, cross-cultural expression that he calls A-POP. As a refugee artist, Bahjat has also expressed pride in carrying a song that blends Maltese with his home roots, saying it was always important for him to give back to Malta for giving him a second chance at life. Visually, the music video captures themes of closeness and separation through cinematic scenes shot across Malta's stunning landscapes. "Haya Ħdejja" stands as a continuation of Bahjat's journey as a global artist shaping contemporary cross-cultural pop through his evolving A-POP sound. About Bahjat Bahjat is a Libyan singer-songwriter based in Malta whose genre-defying sound bridges Eastern and Western pop. As the creator of his self-coined genre, A-POP, he blends Arabic, English, and Maltese lyrics with contemporary pop influences to create music that transcends cultural boundaries. After fleeing Libya as a refugee in 2011, Bahjat transformed personal adversity into globally resonant art. With millions of streams, a fan community of over one million "bahjatroops," and breakout songs including Hometown Smile and Istanbul, he has emerged as one of the most successful Libyan artists of his generation and a leading voice for a new era of international pop. "Haya Ħdejja” on TouTube

Fresh from a series of performances in Malta, Rotterdam-based jazz fusion quartet Ħoss Project is inviting listeners to become part of its next chapter through a crowdfunding campaign that will help finance the release of its debut album and an accompanying documentary. Pre-rehearsal selfie February 2026 - photo: Pete Galea Led by Maltese drummer and composer Pete Galea, the ensemble has steadily built a reputation for its adventurous approach to contemporary music. Bringing together musicians from different cultural and musical backgrounds, Ħoss Project blurs the boundaries between jazz, progressive music, electronic textures and improvised performance, creating a sound that is both deeply personal and strikingly original. The project is also supported by Arts Council Malta through the Arts Support Scheme, recognising its contribution to the development of contemporary Maltese music. The crowdfunding campaign aims to bridge the remaining financial gap needed to complete the ambitious project. Contributions will support the final stages of recording, mixing, mastering, vinyl production, visual artwork and the creation of a documentary that captures the band's artistic journey and collaborative process. Supporters can choose from a variety of rewards, including advance copies of the album, exclusive merchandise and behind-the-scenes experiences, allowing them to become directly involved in the project's creation. Offbeat, Valletta 14/07/26 - photo: Vica Mifsud Rather than simply recording a collection of compositions, the band is documenting a creative process shaped by collaboration, experimentation and cultural exchange. The forthcoming documentary promises to offer audiences an intimate glimpse into the making of the album and the musical conversations that define Ħoss Project's identity. The crowdfunding campaign follows an encouraging run of performances in Malta, where the quartet introduced audiences to much of the material that will feature on the album. Their first local appearance came during the Malta Jazz Festival on Friday, 10 July, before travelling to Gozo for another performance. They concluded their Maltese visit with a more intimate concert at Offbeat in Valletta on Tuesday, 14 July, presenting audiences with an extended and more exploratory set that showcased the band's willingness to push beyond conventional musical boundaries. For listeners with an appetite for adventurous contemporary music, Ħoss Project represents an exciting new voice emerging from Malta while drawing inspiration from an international creative landscape. The crowdfunding campaign offers music lovers the opportunity not only to support the release of a promising debut album but also to help preserve the story behind its creation through film. During Ħossthetica in Jan 2026. Double bill of Ħoss Project & Anesthetica at The Sun, Rotterdam - photo: Hoss Project With the album expected to be released early next year, supporters are investing not only in a recording but in a project that celebrates collaboration, experimentation and the continued evolution of Maltese contemporary music on the international stage. Those who would like to contribute to Ħoss Project's debut album and documentary, or learn more about the crowdfunding campaign and the rewards available, can visit: https://www.voordekunst.nl/projecten/20694-hoss-project-debut-album-documentary. Offbeat, Valletta 14/07/26 - photo: Vica Mifsud Author's note: I attended Ħoss Project's performance at Offbeat in Valletta on Tuesday, 14 July. During the concert, the band performed many of the compositions that will make up their forthcoming debut album. The relatively small audience made the evening even more enjoyable, creating an intimate atmosphere that suited the band's exploratory approach. Unlike their forty-minute set at the Malta Jazz Festival a few days earlier, the Offbeat performance was longer, freer and considerably more experimental—precisely the qualities that immediately drew me to their music. With musicians who have studied and performed across different musical traditions, the result is a compelling blend of jazz, progressive music and classical influences, complemented by subtle elements reminiscent of Krautrock, a genre which, interestingly, I later discovered was unfamiliar to the band members themselves. It was an evening exceptionally well spent, filled with engaging and thought-provoking music. If the live performances are any indication, the debut album arriving early next year is certainly something worth looking forward to.

HAINE Release New Single “Kings/Queens” Ahead of Wacken Open Air 2026 Malta’s modern death metal force return with their heaviest and most focused track to date Malta’s modern death metal band Haine return with their new single “Kings/Queens”, out July 14th, 2026 across all major streaming platforms. The single arrives at a defining moment for the band. Following their recent run of releases and ahead of their appearance at Wacken Open Air 2026, where Haine will represent Malta at the Wacken Metal Battle, “Kings/Queens” serves as both a new chapter and a statement of intent. The track was already planned as part of the band’s next release cycle but now lands as the perfect precursor to their Wacken performance before being brought back to Maltese ground for their local audience. Built around themes of false authority, fragile power and self-appointed importance, “Kings/Queens” confronts the idea of people who carry themselves like royalty while collapsing under the weight of reality. The song takes aim at comfort mistaken for strength, outrage mistaken for identity and crowns that were never earned. Lyrically, the track is direct and unforgiving. Lines such as “You walk like gods but you break like glass” and “No crown fits a head that hides” establish the core of the song which symbolizes how power without endurance is nothing more than theatre. The lyrics move between accusation, confrontation and collapse, reaching their most vicious point with the line: “Your crown is made of guilt. Now wear it like a noose.” Haine's Kings/Queens artwork Musically, “Kings/Queens” pushes Haine into their sharpest form yet. The track combines deathcore weight, modern death metal aggression, tight rhythmic control and a structure that feels more deliberate than chaotic. Rather than relying only on heaviness, the song builds like a confrontation, moving through tension, release and impact while keeping the band’s identity fully intact. “Kings/Queens feels like the clearest version of what Haine has grown into. It is our most structured and mature track so far, but also definitely the heaviest. There is a real sense of storytelling in it, both musically and lyrically and it captures the band at a point where everything feels more focused, more direct and more dangerous.”— Claudio Toscano, Haine The single was mixed and mastered by David Depasquale at SpineSplitter Studio, continuing Haine’s collaboration with the studio while pushing the band’s sound into a heavier and more refined direction. The artwork was created by Victor Hugo / @iam_vh1. Digitally hand-drawn, the cover directly reflects the song’s theme, showing two crowned figures locked in a screaming confrontation against a distorted gothic backdrop. The stark black-and-white illustration, ink-splattered chaos and blood-red Haine logo turn the artwork into a visual extension of the track itself: hostile, regal, broken and violent. An official video for “Kings/Queens” will follow one week after the single release. With “Kings/Queens”, Haine are not easing into their next step. They are sharpening it. The track stands as one of the band’s most complete statements so far: heavier, more structured, more confrontational and fully aligned with the band’s evolution as they prepare to take Maltese modern death metal to Wacken. Pre-save / stream “Kings/Queens”: https://distrokid.com/hyperfollow/haine/kingsqueens HAINE is: Claudio Toscano — Bass Jack Aron Pisani — Guitar Jean Vella — Guitar Chris Bonello — Vocals Konrad Saliba — Drums Links Official Website: https://www.hainemusic.com/ Instagram: https://www.instagram.com/haine.music/ Facebook: https://www.facebook.com/official.haine Spotify: https://open.spotify.com/artist/4SH9v6X1z8BEOL1E2JLgYd Bandcamp: https://haine-music.bandcamp.com/ YouTube: https://www.youtube.com/@hainemt For interviews, media requests or press assets: band.haine@gmail.com

Eric ACE has just released his debut solo album, Spin Off — a milestone that coincides with the 50th anniversary of his first steps as a musician. Available now on both CD and vinyl, Spin Off is a vibrant, forward-looking record that draws on five decades of musical experience while sounding entirely of the moment. Eric Ace's 'Spin-Off artwork At its heart, Spin Off is an electronic album, but it refuses to stay in one lane. Eric's background as a guitarist runs visibly through the record — six-string layers and flourishes weave through the mix, adding warmth and texture to the electronic foundation. Beyond that, the album stretches its wings across a range of genres, with individual tracks drawing on elements of funk, disco and even reggae, resulting in a collection that is as eclectic as it is cohesive. Eric ACE's road to this debut has been anything but conventional. His musical journey began in 1976 when, as a teenager in Gzira, he picked up his first guitar and started writing original songs with a group of school friends. Those early years of playing, writing and performing laid the groundwork for what would become a long and distinguished career in Maltese music as part of the band X-Tend — one that took him across Europe and beyond, with international performances in Italy, France, Switzerland, Germany, Turkey, Tunisia and Australia, among others. While Spin Off marks his formal debut as a solo artist, Eric has been writing and composing for himself and other artists since 1985, qualifying for and performing at various festivals and shows along the way. He has competed in four finals of the Malta Song for Europe festival, and in 1990 he won the Yamaha Keyboard Competition. The album was brought to life through the immersive involvement of producer Andrej Ljatkovski, who handled the recording, production, mixing and mastering. Spin Off’s striking visual identity was designed by Ivan Sciberras, and the video for the first single, Shivers, was produced by Myles. A music video for the instrumental track Intergalactic has also been produced by Jo Pisani. Spin Off is released through 141 Records and is available now on CD and vinyl.

Less than twenty-four hours after Eric Ace unveiled his debut solo album (read here), Malta's rock scene continued its remarkable weekend with three more veteran bands launching new releases. X-Vandals, Lord Adder and Delirium MT joined forces for what became the island's first-ever triple album launch event. X-Vandals on stage at Tigulio during Judgement of Deserted Souls. photo: Vica Mifsud Titled Judgement of Deserted Souls, the event took place at Tigullio on Saturday, 5 June, combining live music with a charitable cause. Proceeds from ticket sales, together with funds raised through a motorcycle ride held before the performances, were donated to DAR Bjorn. On 12 June, a cheque for €2,420 was presented to the foundation, proving that the local rock and metal community can make a difference both on and off the stage. Delirium MT 'Exile Of The Soul' artwork Delirium MT returned with their second album and a refreshed line-up that has noticeably reshaped their musical direction. The power metal influences that characterised parts of their earlier material have largely been replaced by a more aggressive, direct and hard-hitting sound. The band also introduced their new guitarist during the launch event. Although he did not perform on the recording of the album itself, his live debut added another dimension to the band's performance, making their already powerful sound feel even tighter and more energetic. On 20 May, Delirium MT introduced Gozitan guitarist Chris "Xandru" Curmi through the band's social media pages, describing him as follows: "Xandru picked up the guitar at just 11 years old and is entirely self-taught. His passion for the instrument was sparked by watching bands perform, where it was always the guitarist who caught his attention and inspired him to play. His musical influences include a variety of thrash, speed, hardcore punk, and a touch of groove. Whilst he follows and listens to many local bands, his favourite are X-Vandals while internationally he draws inspiration from acts such as Motörhead, Metallica, and Iron Maiden. From the very first rehearsal, his energy, passion, and heavy-hitting riffs confirmed he was the perfect fit for Delirium MT — and we can't wait for you all to witness it live." Delirium MT on stage at Tigulio during Judgement of Deserted Souls. photo: Vica Mifsud Following their explosive performance, Delirium MT also thanked everyone involved in making the event possible, posting an extensive message on social media in which they praised fellow bands X-Vandals and Lord Adder for their performances, acknowledged sound engineer Russell for his work throughout the evening, and expressed gratitude to Music Playground, Tigullio, Skullbikers Malta, the participating motorcycle clubs and independent riders, as well as Jalen Kickboxing, Egalité, EZ Creations, Smashed to Shit, ALS Malta and Arts Council Malta. They concluded by thanking everyone who attended before promising fans: "WE'RE BACK — with more to come soon!" X-Vandals 'Final Judgement' artwork Despite Delirium MT's memorable set, they were not the first band to take the stage. Opening the evening were X-Vandals, who mixed new material from their freshly released album Final Judgement with fan favourites from their previous three studio albums, released in 2006, 2009 and 2017. The eleven tracks on Final Judgement were written by Ray Schembri and Albert Bell, who rejoined the band in 2019 after an absence of 28 years. Bell had originally played bass when the band was still known simply as Vandals, but this time he returned as a second guitarist. Lyrically, X-Vandals continue to explore themes of a dystopian future, yet musically the band sounds stronger than ever. Every song reflects the experience and professionalism of its members, resulting in one of the band's most cohesive releases to date. Having waited nine years since their previous album, I can only hope fans will not have to wait nearly as long for another. Lord Adder 'Desert Porch Hangout' artwork Bringing the evening to a close were veterans Lord Adder, who unveiled their sixth studio album, Desert Porch Hangout. The record follows Operation Pedestal and 1565, both of which were released simultaneously through digital platforms on 5 February 2022. Those albums certainly deserve a physical release, but for now the spotlight belongs to Desert Porch Hangout. Musically, the album continues exactly where its predecessors left off. Lord Adder once again deliver their trademark blend of raunchy rock 'n' roll that comfortably walks the fine line between traditional heavy metal and uncompromising American hard rock—a style perfectly reflected by the album's title and attitude. Lord Adder on stage at Tigulio during Judgement of Deserted Souls. photo: Vica Mifsud One person whose contribution deserves special recognition is Raymond Micallef. The X-Vandals and Lord Adder drummer also handled production duties for all three albums released during the event. For a producer tackling three different records simultaneously, this was certainly a baptism of fire. Nevertheless, he succeeded in capturing the unique identity of each band while highlighting the strengths of the individual musicians. The achievement is particularly impressive considering he was also performing with two of the bands, while Delirium MT's album represented the only project on which he had no songwriting involvement. Looking back, it was an exceptional weekend for Maltese rock. Four quality albums were released within the space of two days, offering fans an abundance of excellent new music. For anyone who appreciates home-grown music, my advice is simple: get hold of all four releases, turn the volume up, and enjoy them exactly as they were meant to be heard. Exile of the Soul, Final Judgement and Desert Porch Hangout came together through a charity bike ride and an outstanding metal concert in support of DAR Bjorn, raising a total of €2,420.

Capitol K & CHILD Release New Collaborative Single Ħabbata" Habbata cover art A meeting of two distinctive creative forces, Capitol K and CHILD unite for their new collaborative single, Ħabbata ("knocker"), released on 7 July 2026 via Faith and Industry (Catalogue No. FAIX010). Improvised using primitive technology under adverse conditions inside a hilltop bunker, Ħabbata channels a powerful sense of place, resilience, and personal sovereignty. Built around hard electronic drums, minimal bass, and hypnotic repetition, the track evokes an atmosphere that is both intimate and cinematic. CHILD's haunting vocal performance carries the song's central invitation: "Day after day / The day is knocking / How will you greet today?" Performed in Maltese, the vocal brings a unique cultural dimension to the production, reinforcing the song's themes of identity, presence, and belonging. With roots in punk and a deep love of electronica, CHILD has developed a distinctive sound centred around the human voice, combining synthesis and minimal hardware beat production to create an ethereal blend of classic electronica and dark ambient song forms. Kristian Craig Robinson, better known as Capitol K, is a Malta-born, London-based musician, producer, and recording engineer whose pioneering work helped define the folktronica movement. Raised between Dubai, Brunei, and England, he emerged in the late 1990s and early 2000s with acclaimed releases including Sounds of the Empire and Island Row on Planet Mu and XL Recordings, developing a signature style that fused lo-fi indie pop, electronica, and field recordings. His expansive career has continued with the release of his milestone tenth album, Artichoke (November 2025). Robinson is also the founder of the Faith and Industry label and operates London's renowned Total Refreshment Centre studio, where he has produced and engineered recordings for artists including The Comet Is Coming, Dry Cleaning, Thurston Moore, and Alabaster DePlume. Ħabbata stands as a compelling collaboration between two artists whose shared instinct for experimentation, atmosphere, and emotional depth results in a work that feels both immediate and timeless. Credits Written, performed & produced by: Capitol K & CHILD Mixed & mastered by: Capitol K Artwork: Chris Bianchi Release Information Artist: Capitol K / CHILD Title: Ħabbata Release Date: 7 July 2026 Label: Faith and Industry Catalogue Number: FAIX010 For further information, interviews, or promotional enquiries: Website: www.faithandindustry.com Email: faithandindustry@protonmail.com

Malta’s music scene continues to gain international attention as singer-songwriter Chellcy Reitsma celebrates global recognition while rock band Temporary Fluctuation embarks on the next chapter of its musical journey. Chellcy Reitsma has been selected as a finalist at the 2026 InterContinental Music Awards (ICMA), with her song Chemicals shortlisted in the Euro Rock category. The achievement places her alongside artists from more than 100 countries and regions on one of the world's leading platforms celebrating independent and professional musicians. Founded in Los Angeles, the InterContinental Music Awards recognise artists based on their cultural and continental origins, while providing international exposure and recognition to emerging and established talent. For Chellcy, the nomination marks another significant milestone in her growing music career and further highlights her presence on the international stage. Meanwhile, Malta-based Italian rock band Temporary Fluctuation has officially introduced itself with the release of its debut single, Vienna. The track represents the first chapter in a much broader musical journey, with the band already working on a collection of eleven original songs set for future release. Originally written by band member Daniele during an earlier musical project before Temporary Fluctuation was formed, Vienna has finally found its home as the band's debut release. The song explores themes of hypocrisy, overthinking and the everyday struggle of concealing one's true identity in order to fit into society. Describing the release as both a milestone and a fresh beginning, the band said: "Vienna is not the finish line—it's the starting point. For the last three years we've been working tirelessly to build something that truly represents who we are, and now we're excited to finally share it with everyone." The single was recorded with producer Conrad Dimech at Black Light Studios, whose expertise and support helped shape the band's debut sound. With their first release now out, Temporary Fluctuation is already preparing for its next major challenge by representing Italians living abroad at the upcoming Sanremo Rock Festival in Italy. "Our next big step is participating in the Sanremo Rock Festival. We're proud to represent the Italian Expats community while carrying a piece of Malta with us on that stage. It's an opportunity to connect our roots with the place we've come to call home, and we can't wait to share our music with audiences in our country," the band said. Together, the achievements of Chellcy Reitsma and Temporary Fluctuation reflect the growing international reach of artists connected to Malta, with both acts taking important steps onto larger global stages while continuing to develop their musical identities.

Through music, storytelling and shared emotion, Malta's newest cultural attraction is inviting both locals and visitors to reconnect with the island's living heritage. For Maltese audiences, the experience evokes memories of family gatherings, village traditions and songs passed down through generations. For visitors, it offers a rare opportunity to discover the authentic soul of Malta through stories, music and humour that cannot be found in museums or guidebooks. Early audience feedback has been overwhelmingly positive, with guests describing the experience as "moving", "authentic", "surprising" and "a highlight of their visit to Malta." Many have praised the intimate atmosphere and the genuine connection created between performers and audience, making every performance a shared celebration of Maltese identity. "Folk Underground was created to preserve and celebrate Malta's intangible cultural heritage in a way that resonates with today's audiences," said the organisers. "Whether you're Maltese rediscovering your roots or a visitor looking for a truly authentic experience, our aim is for every guest to leave with a deeper connection to Malta and its people." As cultural travellers increasingly seek meaningful and authentic experiences, Folk Underground is quickly establishing itself as a must-visit attraction, proving that Malta's greatest stories are not only found in its monuments, but in its music, its traditions and the people who keep them alive. Folk Underground is organised with the support of MeDirect Bank, Visit Malta and the Magna Zmien Foundation. Folk Underground hello@folkunderground.com www.folkunderground.com Tickets: https://www.showshappening.com/folk-underground/folk-underground Facebook: https://www.facebook.com/folkundergroundmt/ Instagram: https://www.instagram.com/folk.underground

Part III – From Noise to Meaning Among the most significant contributions of Sonic Drift are the insights it generated about how people experience urban soundscapes and how listening can reshape relationships with place. One of the clearest findings concerned traffic-dominated environments. Participants repeatedly described heavily trafficked areas as overwhelming and emotionally restrictive. Continuous vehicle noise masked subtler sonic details and reduced opportunities for reflection. Such environments aligned with what soundscape theory describes as “lo-fi” conditions, where sonic density limits attentiveness and emotional engagement. The culmination of Sonic Drift: an immersive sound performance shaped by movement, memory, and shared sonic exploration. Yet the project also revealed an unexpected counterpoint. As participants moved away from intense traffic zones and entered quieter post-industrial environments, their listening experiences changed dramatically. The publication notes that participants became increasingly aware of “resonance, vibration, material texture, and rhythm.” These spaces, often overlooked within urban discourse, emerged as sites of heightened sonic awareness. Perhaps the project's most striking finding concerns the relationship between sound and memory. Abandoned and semi-active structures functioned as what researchers describe as acoustic containers. Their relative quietness allowed subtle sounds to surface, creating environments in which participants became more attentive not only to external sounds but also to personal associations and recollections. These spaces acted as informal archives where memory and material presence intersected through sound. Through collective listening, the city reveals itself differently—streets become resonant pathways, and everyday sounds become invitations to participate rather than simply observe. The research challenges dominant assumptions about industrial and post-industrial landscapes. Such spaces are frequently characterised as degraded, hostile, or devoid of social value. Yet participants often reported feelings of calm, curiosity, and attentiveness within them. “Contrary to dominant narratives that frame industrial soundscapes as hostile,” the publication observes, “participants experienced moments of calm and attentiveness, especially during moments of stillness.” Another important outcome concerned collective listening itself. Group reflections revealed that participants increasingly focused on rhythm, resonance, and spatial depth rather than visual cues. Listening became a shared practice through which new forms of awareness emerged. The project suggests that listening is not merely a biological function but a social and cultural skill shaped through participation and exchange. Back cover of the documentation of Sonic Drift Ultimately, Sonic Drift demonstrates that sound is not simply a background condition of urban life. It is a fundamental component of how people understand and inhabit place. At a time when discussions of urban development often focus on visual transformation, infrastructure, and economic growth, the project offers a different perspective. It reminds us that cities are not only seen; they are heard. Their identities are carried not only through buildings and streets but through echoes, rhythms, interruptions, and silences. By encouraging participants to slow down, drift, and listen, Sonic Drift reveals a city that exists beyond the visible—a city composed of relationships, memories, atmospheres, and shared experiences. In doing so, it opens new possibilities for understanding how art, research, and community engagement can come together to reimagine urban life through sound. Thank you for joining us on this journey through Sonic Drift: Listening Beyond the Visible City. We hope these explorations of sound, place, memory, and collective listening have offered new perspectives on the urban environments we often take for granted. If you would like to revisit the earlier chapters of this story, Part One can be found here and Part Two can be found here. We invite you to continue listening, exploring, and discovering the unseen dimensions of the city through sound. Sonic Drift: Listening Beyond the Visible City / Part I – Drifting Through Sound: Reimagining Urban Experience Sonic Drift: Listening Beyond the Visible City / Part II – The City as Collaborator

Maltese progressive atmospheric metal project Erased by Time marks its return with Dying Light, a powerful new single that further cements the project's reputation for blending technical musicianship with deeply emotional storytelling. Created by musician and composer Andrea Sacco-Baldacchino, the track offers an immersive journey into the complexities of the human mind, weaving together cinematic soundscapes, progressive instrumentation, and compelling emotional dynamics. Erased By Time promo photo 2026 At its core, Dying Light explores themes of fear, identity, vulnerability, and the inner conflicts that often remain hidden beneath the surface. Moving effortlessly between moments of quiet reflection and overwhelming intensity, the song creates a listening experience that is both intimate and universally relatable. Rather than providing definitive answers, it invites listeners to embrace uncertainty and reflect on the weight of difficult decisions, lingering regrets, and the unanswered questions that shape our lives. It is a meditation on the silence we often fear, while also revealing the resilience that can emerge through self-confrontation. Speaking about the inspiration behind the single, Sacco-Baldacchino explains, "Dying Light is a song about confronting ourselves. We spend so much of our lives trying to silence our fears, bury our regrets, and outrun the parts of us we'd rather not face. Eventually, however, silence catches up with us. This song explores that moment, not as an ending, but as the beginning of understanding who we really are." Nick Depirro The release also showcases the contributions of an accomplished group of collaborators. Vocalist Kyle Farrugia delivers an emotionally charged performance that drives the song's narrative, while Mark Doneo adds a thought-provoking spoken-word passage that deepens its introspective atmosphere. Renowned guitarist Anthony Micallef contributes a soaring guest solo that heightens the track's climactic moments, complementing its expansive and cinematic scope. Bringing the production together is Nick DePirro, guitarist of Night Verses and Headcave, who handled the production, mixing, and mastering. His distinctive approach to atmosphere and dynamics further enhances the song's emotional depth and sonic impact. Dying Light artwork With Dying Light, Erased by Time continues to develop a distinctive musical identity that draws influence from progressive metal, post-rock, and cinematic composition. The project remains focused on creating immersive works that resonate long after the music has faded, balancing intricate musicianship with evocative storytelling. Dying Light is set for release on 11 July 2026 and will be available across all major streaming platforms, including Spotify, Apple Music, YouTube Music, Amazon Music, Deezer, TIDAL, and other digital music services. The single was written and composed by Andrea Sacco-Baldacchino, with vocals by Kyle Farrugia, spoken-word narration by Mark Doneo, a guest guitar solo by Anthony Micallef, and production, mixing, and mastering by Nick DePirro.

This July, Rock The Beach (RTB) returns to where its story first began. A decade after its inaugural edition transformed the waterfront beneath Torri into a vibrant celebration of alternative music and culture, the festival is heading back to its original home as part of the Sliema Arts Fest. Taking place from 17 to 19 July, the free three-day festival will once again bring together live music, hip hop, art, food and a laid-back seaside atmosphere, celebrating both Malta's thriving independent music scene and the spirit of community that has always been at the heart of Rock The South Malta. Organised by Rock The South Malta in collaboration with Sliema Arts Fest, Kewn Records and Tuff Drinks, Rock The Beach has become one of the organisation's flagship summer events. Returning to the Sliema waterfront where the concept first came to life adds a special significance to this year's edition, bringing the festival full circle while introducing it to a new generation of music lovers. Set against the Mediterranean coastline beneath Torri on Tower Road, the festival will feature two stages offering an eclectic mix of performances across three days. The Main Stage will showcase some of Malta's leading alternative, rock, punk and indie bands, while The Boom Box, hosted on the Red Bull Sugga, will present an exciting programme of hip hop, rap and urban music. Organiser and Bila's frontman Nick Morales - photo: Lindsey Bahia @bahiapictures Each afternoon from 3pm, the Music Playground Jamming Sessions will invite musicians and festivalgoers to participate in open-mic performances, collaborative jam sessions and surprise appearances, creating opportunities for spontaneous creativity and audience participation before the evening concerts begin. Friday's line-up features Dolls For Idols, UK guests Bumb, Beesqueeze, MotherKnives and Myles, alongside Auraticast, ONE11, JAYE, VKNG, Zion not Zeeyon and Funky Monkey on The Boom Box. Saturday brings performances from BILA, Kodin Hill & The Pressed Pills, Dripht, Bruda and Krishna, with Funky Monkey, BUZU, LIL-JUN and Sempliċiment Tat-Triq taking over The Boom Box. Sunday's closing programme includes Bark Bark Disco, Skarabank and Aidan Somers, while REA, Akuma The Poet and Depth complete the weekend's urban music showcase. Beyond the music, Rock The Beach promises a complete festival experience. Visitors can enjoy refreshments from Tuff Drinks, stay cool with Fuck Yeah Sparkling Water, and choose from a fully stocked bar serving beers, spirits and cocktails. Freshly baked pinsa will be available throughout the weekend, while Coffee Circus Malta will be serving speciality coffee to keep festivalgoers fuelled from afternoon until late. Adding to the creative atmosphere, this year's artwork has been designed by local artist Samwel Mallia, whose vibrant visuals reflect the energy, colour and coastal setting that have become synonymous with the festival. Motherknives live debut show at Rock The South 2025 - photo: Eliza Rock The South Malta has spent the past decade building a reputation for championing Malta's independent music scene, creating opportunities for emerging artists while presenting festivals that bring together music, creativity and community. Returning Rock The Beach to the location where it all started is both a celebration of that journey and a reminder of how far the local alternative scene has come. Supported by Sliema Arts Fest, Sliema Local Council, Music Playground, Amrita Footcare & Wellness Centre, Vibe FM 88.7, 141 Records, Kewn Records, Tuff Drinks, Fuck Yeah, and The Garage Music Hub, this year's edition promises to be one of the highlights of Malta's summer cultural calendar. With free admission, two stages, more than 25 artists and three days of music beside the sea, Rock The Beach 2026 invites audiences of all ages to celebrate the festival's return to the place where it all began. Rock The Beach takes place from Friday 17 to Sunday 19 July beneath Torri on Tower Road, Sliema. The festival opens daily at 3pm, with live band performances beginning at 7.40pm on Friday and Saturday, and 5.40pm on Sunday. Admission is free.

Hotel Malta Records and NEXT Music proudly present "Beat of Love", the brand new pop-dance single from Cool Mike & Lyndsay feat. Jaga. Packed with uplifting melodies, infectious rhythms and a vibrant summer atmosphere, "Beat of Love" is a feel-good anthem celebrating love, connection and the power of music that brings people together. The track blends contemporary pop production with dance floor-ready energy, creating a sound that is both fresh and instantly memorable. The collaboration showcases the distinctive musical chemistry between Cool Mike, Lyndsay and Jaga, combining powerful vocals, catchy hooks and an irresistible groove. Designed to capture the spirit of summer, "Beat of Love" delivers a positive message wrapped in a modern pop-dance production that is sure to resonate with audiences across all generations. Furthermore, the single marks another exciting chapter for the artists and highlights the labels' commitment to supporting quality music and international collaborations. With its uplifting sound, memorable chorus and universal theme of love, "Beat of Love" is poised to become a favourite on radio stations, streaming playlists and summer events throughout the season. "Beat of Love" by Cool Mike & Lyndsay feat. Jaga is now available on all major digital streaming platforms.

Lyndsay Pace Selected as a Finalist at the InterContinental Music Awards in Los Angeles Maltese singer-songwriter Lyndsay Pace has been announced as a finalist at the 2026 InterContinental Music Awards (ICMA) for her Malta Eurovision Song Contest entry "Fireproof" in the Europop category. Based in Los Angeles, California the InterContinental Music Awards is an internationally recognised competition that celebrates outstanding musical talent while promoting cultural unity through music. Since its launch in 2011, the awards have honoured artists from more than 70 countries and continue to provide a global platform for independent and emerging musicians. "I'm truly honoured to be recognised as a finalist at the InterContinental Music Awards," said Lyndsay. "Having my music acknowledged on an international stage is an incredible milestone and I'm grateful to everyone who has supported my musical journey." The winners will be announced during the official online awards ceremony on 23rd August 2026, bringing together artists and music professionals from around the world to celebrate creativity, diversity and excellence in music.