A New Chapter After several years of uncertainty and a period away from the spotlight, Beheaded began rebuilding their presence both on stage and in the studio. The band's return marked more than a continuation of their past; it signalled a renewed determination to move forward and prove that the years away had done nothing to diminish their creative and destructive force. Bangkok Thailand March 2011 photo (Facebook) That chapter took shape with Never to Dawn. The album was recorded at Temple Studios in Malta in 2010 and eventually released through Unique Leader Records in November 2012. The seven-year gap separating it from Ominous Bloodline was considerable, but the album demonstrated that the band had retained its ability to deliver technically demanding and brutally effective death metal. Beheaded 2013 photo (Facebook) By this point, the world around Beheaded had changed dramatically. The underground infrastructure of the 1990s had been transformed by the internet. Physical demos and fanzines no longer controlled the flow of information, and musicians could communicate directly with audiences around the world. Yet Beheaded's reputation had been built during the old underground era, and that history gave them an authenticity that could not be manufactured overnight. Never to Dawn therefore served as both a continuation and a new beginning. Frank Calleja's voice helped define the band's new era, while the compositions reflected the experience accumulated during two decades of playing extreme metal. The band had become more mature without becoming less brutal. Another major turning point came in 2014 when founding drummer Chris Brincat left Beheaded after more than two decades with the band. His departure closed one of the longest chapters in the group's history. Brincat had been behind the drums since the beginning and had participated in almost every major stage of Beheaded's development, from the Souldead era through the band's international breakthrough and the long road towards Never to Dawn. His replacement, Italian drummer Davide Billia, brought another dimension to the increasingly international nature of Beheaded. By this stage the band was no longer operating purely within the Maltese musical environment. Their international reputation and touring history had become part of their identity, and musicians from outside Malta could now become part of the group without diminishing its Maltese character. Guitarist Simone Brigo joined in 2015, helping establish the line-up that would take Beheaded into another phase of their career. The next album, Beast Incarnate, appeared in 2017 through Agonia Records. Beheaded 2015 photo (Facebook) By now, Beheaded had little left to prove in terms of technical ability. They had already demonstrated that they could play extraordinarily complex and brutal death metal. The challenge was therefore becoming more interesting: how could they continue to evolve without abandoning the qualities that had earned them their reputation? Beast Incarnate offered part of the answer. The brutality remained, but the music displayed greater variation and an increased awareness of atmosphere and dynamics. Reviews noted that the band was continuing to develop rather than simply repeating the sound of its earlier releases. Teeth of the Divine, for example, described Beheaded as one of the more respected names in European brutal death metal and regarded the album positively. Frank Calleja's role became increasingly important during this period. Having joined during the band's rebuilding years, he was now firmly established as the voice of modern Beheaded. His vocal approach also evolved, becoming more varied and expressive rather than relying exclusively upon the extremely low guttural delivery associated with some forms of brutal death metal. RED & BLACK Chorzów Poland October 2017 photo (Facebook) That evolution became particularly noticeable on Only Death Can Save You, released in 2019 through Agonia Records. The album represented another step away from the idea that Beheaded's identity depended solely upon technical extremity. The musicianship remained formidable, but the compositions became more dynamic, while Calleja's vocals provided additional variation. Reviews reflected this development. Wonderbox Metal highlighted the greater expressiveness of the vocals and the wider variation in the band's approach, while Metal Temple praised the musicianship and described the record as a modern interpretation of death metal that nevertheless retained Beheaded's own personality. By this point, Beheaded had existed for almost three decades. They had moved through several generations of musicians and experienced the transformation of the entire music industry around them. They had gone from cassette demos to digital distribution, from correspondence with underground fanzines to international online reviews and social media, and from travelling to Europe as an obscure Maltese band to performing before audiences who knew precisely who they were.

Award-winning music producer Toby Farrugia joins forces with legendary Maltese singer Ozzy Lino for the release of their powerful new single, “More Than Ok.” Written, composed and produced by Toby Farrugia at Tobymusic Productions, More Than Ok carries a deeply personal and universal message about self-worth, insecurity and the pressure many people feel to constantly prove themselves. The song is a reminder that sometimes we become so focused on seeking approval and proving that we are good enough that we forget an important truth — we were already worthy all along. “More Than Ok” aims to create awareness around those feelings of self-doubt and the belief that we need to be more, achieve more or prove more in order to feel valued. Its message is simple but powerful: you don’t have to prove your worth to anyone. You are more than enough. You are more than ok. The collaboration brings together Toby Farrugia’s production expertise and Ozzy Lino’s distinctive and emotive vocal performance, creating a song that combines contemporary production with genuine emotion and a message that can resonate with anyone who has ever questioned their own worth. “More Than Ok” will be released on Dancewood Records on Monday, 21st September 2026. Toby Farrugia is an award-winning music producer and the founder of Tobymusic Productions. With over 20 years of experience in the music industry, Toby has been involved in more than 1,000 productions, working with established artists, singers and DJs, as well as producing music for films and documentaries. “More Than Ok” is not simply a song — it is a reminder to stop measuring your worth by the expectations of others and to recognise that, sometimes, you are already more than ok. Tobymusic Productions tobymusicprod.com

David Depasquale's new online home reflects how SpineSplitter Studio has grown from a recording studio into a wide-ranging centre for music, audio, video and creative production “This isn't just a new website to me. It feels more like taking a big chunk of my working life and finally organising it into something I can look at and say: Yep. That's SpineSplitter Studio.” - David Depasquale For nearly two decades, SpineSplitter Studio has been a place where music and creative ideas have been developed, recorded and brought to life. Now, much of that work has finally been brought together under one roof with the launch of the studio's new website, offering visitors an extensive look at the many projects, productions and services that have become part of SpineSplitter Studio since its establishment in Malta in 2007. The studio is the creation of David Depasquale, an audio producer, recording and mixing engineer, video producer, musician and founder of SpineSplitter Studio. Over the years, his work has expanded far beyond the traditional idea of a recording studio, covering complete song production, recording, editing, mixing, mastering, video production, creative projects, live visuals, event production, teaching and cymbal repair and modification. The result is a website that does more than simply advertise a list of services. Instead, it provides an insight into the development of SpineSplitter Studio and the considerable amount of work that has passed through it over the years. As Depasquale explained when announcing the launch, much of this material had previously been scattered across YouTube, Facebook, old links, drives and different parts of the internet. The new website brings these different strands together, creating what is perhaps the most complete representation yet of what SpineSplitter Studio has become. The Vault: A History of Projects One of the centrepieces of the new website is The Vault, described as a production archive bringing together years of music, videos and other projects that have made their way online. Visitors can browse the archive or filter projects by categories including Metal, Hip Hop/Rap, Rock and Other, reflecting the broad range of music and productions David has worked on. The collection demonstrates that while SpineSplitter Studio has strong roots in heavy music, its work extends well beyond one particular genre. Among the many projects represented in The Vault are works involving Abysmal Torment, ClubMurder, DiggerThings, Weeping Silence, Atomic Flame, Sacroment, Damaged & Co., Bound to Prevail, Killing Adrenaline, Pilgrimage, Elder Water, MartYriuM, Carnivorous Horde, Purple Haze, DIGBY, Mythril, ManaTapu, Align The Tide, HAINE, Jodi & Ian and several other artists and productions. The archive also includes a number of music videos, lyric videos, visual productions, sound-design projects, guitar playthroughs and SpineSplitter Studio's own productions and cover versions. Among the projects featured are videos involving DiggerThings featuring Tim “Ripper” Owens and DiggerThings featuring Blaze Bayley, as well as work connected to a variety of artists from Malta and beyond. The Vault is also intended to remain an evolving archive. Artists or collaborators who have worked with Depasquale or SpineSplitter Studio but do not yet see their project represented can submit a link for it to be added to the collection. More Than Recording a Finished Song David Depasquale's background is rooted in music, performance and technical learning, with his interest in guitar and heavy music eventually developing into a long-term career in audio and creative production. One of the central ideas behind his approach is that an artist does not necessarily need to arrive at the studio with a completed song. A project can begin with a reference track, a rough demo, a beat idea, a stylistic direction or even a basic concept. From there, the music can be developed from the ground up through original beats and instrumentals, arrangement, instrumentation, song development and full production before moving into recording, editing, mixing and mastering. As the website puts it: “You don't need a finished song to start.” This approach allows SpineSplitter Studio to work with artists at different stages of the creative process. Some may arrive with fully developed material requiring recording, engineering and finishing, while others may need assistance in developing the music itself from its earliest stages. The work spans metal, rock, hip hop, electronic, orchestral and alternative music, among other creative directions. Audio, Video and Visual Production The Audio side of SpineSplitter Studio brings together the studio's recording, mixing, mastering and music-production work, following a project from its earliest stages through to a finished release. However, audio is only one side of the studio's activities. Through its Video section, the website also highlights a side of David's work that has grown considerably over the years. This includes music videos and other visual productions, from planning and filming through editing, colour work, effects and final delivery. Depasquale's work also extends into live event production and coordination, synchronised live visuals and television sports feature filming and editing, demonstrating the wider range of technical and creative production work that has developed alongside the studio's musical activities. A newer addition is Smooth Shots, a concept developed around short-form vertical social-media content. The service focuses on controlled 20–30 second reels for businesses, products and brands, using repeatable visual techniques and controlled camera movement to create a consistent visual style. Giving Cymbals Another Life Another specialised area now represented on the website is Cymbal Repair & Modification. Through this service, damaged cymbals can be repaired or reshaped in an attempt to extend their usable life and offer musicians another option before replacement becomes necessary. It is another example of how SpineSplitter Studio has gradually developed into something broader than its original identity as simply a recording space, with different practical and creative services growing naturally from Depasquale's experience as both a producer and active musician. Passing On Experience Through Let's Learn The studio's activities also include teaching through Let's Learn, offering one-to-one lessons in guitar, drums, vocals and music production. The emphasis is on a practical approach built around actually making, recording and performing music, while David's experience has also led to his involvement in teaching and course development in audio production. For aspiring musicians and producers, this means learning is connected directly to real-world creative work rather than remaining purely theoretical. The Musician Behind the Studio David Depasquale on stage during Rockestra 2022 photo Victor Vella Alongside his work behind the console and camera, David Depasquale remains an active musician. His long-term involvement includes bands such as Abysmal Torment, ClubMurder, DiggerThings and Matthew and The After Party, among others. This practical experience as a performing musician continues to form an important part of his work as a producer, engineer and creative collaborator, bringing an understanding of the recording process from both sides of the studio. Depasquale has also performed twice at the Malta Eurovision Song Contest, appearing with Matthew Cilia in 2025 and with Matthew and The After Party in 2026. This combination of performance, production and technical experience is reflected throughout the new website and its archive of projects. A New Home for an Ongoing Journey Although the new website is now live, SpineSplitter Studio's online archive remains very much a work in progress. More studio photography and further projects are expected to be added to The Vault, while David has also indicated plans for additional interactive tools and features. For now, however, the website represents an important moment in the history of a studio that has spent almost two decades continuously developing. What began in 2007 has grown into a creative operation covering music production, recording, mixing, mastering, video production, visual work, education, specialised cymbal repair and a wide range of collaborations. The new website finally brings those different elements together and gives visitors the opportunity not only to find out what SpineSplitter Studio offers today, but also to explore the extensive body of work that has helped shape it along the way. In David Depasquale's own words, the website is the place where he can finally look at everything and say: “Yep. That's SpineSplitter Studio.” For more information, to explore The Vault, view the studio's services or get in touch regarding a project, visit: SpineSplitter Studio

Maltese singer-songwriter Lyndsay Pace will proudly fly the Maltese flag at the Sofia Grand Prix Festival in Bulgaria from 25 to 27 September 2026. Lyndsay will perform her Malta Eurovision Song Contest entry “Fireproof”, bringing her powerful pop sound and dynamic stage presence to an international audience. The participation marks another exciting milestone in Lyndsay’s musical journey. “Fireproof” recently earned her the Best Europop Song award at the InterContinental Music Awards 2026 in Los Angeles, adding to her growing international recognition. “I’m truly honoured to represent Malta in Bulgaria,” says Lyndsay. “Taking my original work to an international stage and proudly flying the Maltese flag is a privilege I will cherish. I look forward to sharing my music and making Malta proud.” With her passion for music and performance, Lyndsay continues to showcase Maltese talent internationally, taking “Fireproof” from Malta to Sofia and beyond.

The second edition of Malta Metal Weekend will bring three days of heavy metal to Malta from 13 to 15 November 2026, with the Eden Arena in St Julian’s becoming the setting for a weekend featuring thirteen bands from Malta and abroad. Following the successful inaugural edition in 2025, the festival returns with a bill covering several generations and styles of metal, from extreme and melodic metal to classic heavy metal and doom. Among the first bands taking the stage on Saturday, 14 November, are three names that, despite coming from very different backgrounds, share a deep connection with traditional heavy metal: Anchorite, Anvil and Candlemass. For this instalment of our Malta Metal Weekend series, we take a closer look at these three bands and what they bring to the second day of the festival. Anchorite — An International Band with a Maltese Beginning Anchorite (top) Peter Svensson and Leo Stivala (bottom) Martin Jepsen Andersen and Marcus Rosenkvist It is perhaps fitting that the first band we examine is also the one with the strongest Maltese connection. Anchorite came into existence in late 2018, following a meeting between Leo Stivala, best known as the vocalist of Maltese doom veterans Forsaken, and Swedish bassist Peter Svensson at the Malta Doom Metal Festival. The pair decided to form a band around their shared love of epic doom, eventually bringing in drummer Marcus Rosenkvist and Danish guitarist Martin Jepsen Andersen. The result was Further from Eternity, released in 2020, an album firmly rooted in the traditions of Candlemass, Solitude Aeturnus and Manilla Road. The band's international character is part of what makes Anchorite particularly appropriate for Malta Metal Weekend: although the musicians come from different countries, the group's origins are firmly tied to Malta's doom-metal community. The band subsequently returned with Realm of Ruin in 2025, and this is where Anchorite have really begun to establish an identity of their own. The album contains eight substantial tracks and embraces the slow, monumental side of doom while allowing traditional heavy metal and even faster passages into the formula. The official Malta Metal Weekend biography describes it as "maniacal doom for doom metal maniacs", pointing towards the band's influences while emphasising the dual-harmony guitar work and traditional-metal gallops that distinguish them from a straightforward Candlemass imitation. There is also some impressive history attached to the album. Realm of Ruin features a guest appearance from Michael Denner, legendary guitarist of Mercyful Fate, while the band's debut included Valhalla Awaits, a tribute to the late Manilla Road frontman Mark "The Shark" Shelton featuring former Manilla Road members Randy Foxe and Bryan Patrick. Reviews of Realm of Ruin have been enthusiastic, although not universally so. Angry Metal Guy praised the band's ability to combine Candlemass, Solitude Aeturnus and other epic-doom influences with a more muscular traditional-metal attack, awarding it 3.5/5 and highlighting "The Apostate's Prayer" and "Kingdom Undone". Metal Archives contains an even more enthusiastic 100% review, praising the memorable choruses, guitar work and Leo Stivala's vocals, while another reviewer gave the album 80%, describing it as a mature and serious epic-doom record but noting that some of its longer, slower passages can test the listener's patience. Metal Hammer was similarly positive about the band's development, giving the album 4.5/7 and noting that Anchorite have moved beyond their influences sufficiently to incorporate traditional heavy metal, stoner elements and other colours into their sound. For Malta, however, Anchorite represent something more than another international doom act. Their story actually began here — and on 14 November they bring that story onto one of the biggest metal stages Malta has hosted. Anvil — Forty Years of Refusing to Give Up Anvil L to R: Chris Robertson (bass), Robb Reiner (drums) and Steve "Lips" Kudlow (Guitars & Vocals) If Anchorite represent the continuing evolution of traditional doom, Anvil represent something equally important: persistence. Formed in Toronto, Canada, Anvil have spent more than four decades playing heavy metal on their own terms. At the centre of the story are founding members Steve "Lips" Kudlow and drummer Robb Reiner, alongside bassist Chris Robertson. Anvil's early records — particularly Metal on Metal and Forged in Fire — established them as one of the important Canadian metal bands of the early 1980s. Their influence subsequently reached artists who would become considerably more commercially successful, including members of Metallica and Slayer. The Malta Metal Weekend organisers describe Anvil as one of the most influential bands in metal history. The irony is that Anvil never received the commercial breakthrough many believed was coming. Their story became widely known through the 2008 documentary Anvil! The Story of Anvil, which documented the band's extraordinary persistence in continuing to tour, record and pursue recognition despite years of setbacks. The documentary transformed Anvil's story into something larger than a conventional heavy-metal biography: it became a story about friendship, ambition, disappointment and refusing to surrender. And they are still doing it. Their latest studio album, One And Only, is their twentieth full-length. Released in 2024, it deliberately looks backwards rather than attempting to modernise Anvil's sound. The band themselves described the record as returning to their older, more straightforward identity after the experiments of the 1990s. Reviews were mixed, but perhaps revealingly so. The Metal Crypt awarded One And Only 4/5, praising its crunchy, melodic and uncomplicated old-school heavy metal and describing it as another strong — if somewhat safe — Anvil record. Other reviewers were less convinced. A 3.5/5 review argued that the album was a step down from Impact Is Imminent and Legal at Last, while acknowledging that Anvil's formula remains effective. And that formula is precisely the point. Anvil have never been interested in reinventing themselves every few years. Their appeal lies in riffs, volume, attitude and enthusiasm. One review compared their consistency to AC/DC: you know what you are getting, but there is something reassuring about a band that continues to do it with conviction. On 14 November, Malta gets the opportunity to witness that persistence first-hand. Candlemass — When Doom Became Epic Candlemass at Rockefeller, Inferno Metal Festival Norway 2024. Photo: Birgit Fostervold And then there is Candlemass. If Anvil represent the perseverance of traditional heavy metal, Candlemass represent something arguably even more significant: the transformation of doom into an entire musical language. Formed in Sweden in the mid-1980s around bassist and principal songwriter Leif Edling, Candlemass took the slow, dark foundations laid by Black Sabbath and expanded them into something more dramatic, melodic and grandiose. The result became known as epic doom metal. The Malta Metal Weekend biography rightly places the band alongside Black Sabbath as one of the definitive architects of the genre. Their 1986 debut, Epicus Doomicus Metallicus, remains the cornerstone. With Johan Längquist on vocals, the album contained classics such as "Solitude", "Demon's Gate", "Under the Oak" and "A Sorcerer's Pledge". It was followed in 1987 by Nightfall, which introduced the legendary Messiah Marcolin and the classic Candlemass lineup. The difference was transformative. Längquist brought an almost vulnerable melancholy to Epicus. Marcolin turned the music into theatre — his operatic delivery, enormous vibrato and unmistakable stage presence becoming inseparable from the Candlemass identity. The band's classic run continued with Ancient Dreams and Tales of Creation, establishing a catalogue that remains central to doom metal more than three decades later. Yet Candlemass have never simply lived in the past. After numerous lineup changes, breakups and reunions, Längquist returned in 2018, leading to The Door to Doom in 2019. The album generated enormous attention because Tony Iommi, the guitarist of Black Sabbath, appeared on "Astorolus – The Great Octopus". The symbolism was almost perfect: the man who helped create heavy metal's original doom language appearing on an album by the band that transformed that language into epic doom. The album was well received, with Metal Hammer describing it as a "masterclass in epic metal", while other reviews praised the combination of old-school songwriting and renewed energy. Their 2022 album Sweet Evil Sun continued the Längquist era. Reviews were more divided: some praised the band's continued ability to produce convincing doom, while others felt that the formula was becoming increasingly familiar. That criticism, however, is hardly unusual for a band whose musical identity has been so firmly established. Candlemass also marked their four-decade history with the 2025 Black Star EP, containing two new songs alongside covers of Black Sabbath's "Sabbath Bloody Sabbath" and Pentagram's "Forever My Queen". Reviews ranged from enthusiastic to lukewarm, but the release reinforced the band's continuing commitment to the musical tradition they helped establish. And that is why Candlemass are such an important part of this particular Saturday. Anchorite draw inspiration from them. Anvil represent another branch of the same traditional-metal family tree. Candlemass are one of the bands that helped create the tree in the first place. Three generations of heavy metal — one Saturday What makes these three acts particularly interesting as a group is the journey they represent. Anchorite are the modern generation, taking epic doom's traditional ingredients and giving them their own international identity, with a very real Maltese connection. Anvil are the survivors — a band that helped shape early-1980s metal, endured decades of setbacks and continues to tour and record with the same enthusiasm. And Candlemass are the architects: a band whose Epicus Doomicus Metallicus helped define an entire branch of metal and whose influence can still be heard in bands such as Anchorite today. They are therefore more than three names on a festival poster. They are three chapters in the continuing story of heavy metal. And on Saturday, 14 November 2026, all three will be part of the second Malta Metal Weekend, alongside Doro and Dirkschneider. The festival itself runs from 13–15 November, bringing thirteen bands across three nights to Malta. Get your tickets Single-day tickets and three-day block tickets are available, allowing fans either to concentrate on their preferred night or experience the entire weekend. BUY TICKETS – Malta Metal Weekend 2026

Parliament Steps Take on a New Life with Installation for Notte Bianca 2026 With Notte Bianca 2026 just around the corner, Valletta is preparing to come alive once again for a night of art, culture and creativity, as Festivals Malta gets ready to present this year’s edition on Saturday, 3 October 2026. As part of the preparations for the event, the Parliament Steps are attracting attention with a special installation. The steps feature the words “Int Tiela’ fit-3 t’Ottubru!”, offering a creative reminder of the date of Notte Bianca while building anticipation for the event. But the installation also has an element of surprise. The steps will form part of an Augmented Reality (AR) experience, adding an interactive dimension to the installation. More details about this experience will be revealed soon. This year, Notte Bianca is taking a new artistic approach, with a collaborative team of artistic directors bringing different ideas and perspectives to the festival. This collaboration is helping to create a varied and balanced programme, featuring different forms of art and creativity across Valletta. Festivals Malta, together with the entire Notte Bianca team, continues to work on preparations for the event as the highly anticipated night draws closer. On 3rd October, Valletta will once again light up for Notte Bianca, with a night filled with music, dance, theatre, art and creative experiences for the whole public to enjoy. More details about the programme and the surprises being prepared will be announced soon on www.festivals.mt. Notte Bianca is organised by Festivals Malta with the support of the Ministry for the Arts, Culture and National Heritage, and sponsored by GSD, Vibefm, europeanheritagedays and Think and Ink.

From the Stage to Greater Brutality The importance of the early tours cannot be separated from the band's later success. Extreme metal is a community in which credibility is earned not only through recordings but through live performance. By appearing on stages alongside established international acts, Beheaded demonstrated that they were not merely an interesting band from an unusual country. They could stand in front of a European death metal audience and deliver. The period following Perpetual Mockery also brought significant changes. Marcel Scalpello eventually left the group, with Lawrence Joyce taking over vocal duties, while the band itself began moving towards a considerably more brutal musical direction. Some of the atmosphere and melodic characteristics associated with their earliest work were gradually pushed aside as the musicians concentrated more heavily on technicality, speed and sheer physical aggression. That transformation became evident with Resurgence of Oblivion. Initially recorded as promotional material and later issued as a release around the turn of the millennium, it represented a bridge between the Beheaded of Perpetual Mockery and the increasingly brutal group that would soon establish itself internationally. The music was denser, more aggressive and more technically demanding. The band's identity was becoming clearer. Beheaded 2009 photo (Facebook) The culmination of this development arrived with Recounts of Disembodiment, released in 2002. This was a pivotal moment in Beheaded's career. The album demonstrated that the band had moved decisively towards brutal and technical death metal, combining ferocious vocals, intricate guitar work, rapid drumming and punishing rhythmic structures. Yet the technicality never completely overwhelmed the compositions. The music remained structured and purposeful, with the musicians demonstrating that brutality did not have to mean a loss of control. The album's reputation has endured, and it remains an important part of Beheaded's legacy. It was during this period that the band's international identity became increasingly established. They were no longer simply emerging from Malta's underground; they were becoming recognised participants in the international brutal death metal movement. The next major stage came with Ominous Bloodline. Released in 2005 through California's Unique Leader Records, the album is widely regarded as one of the defining releases of Beheaded's career. Unique Leader had already developed a reputation as a home for highly technical and brutal death metal, making the partnership particularly appropriate. The signing represented an important validation of the band's development. They had gone from circulating a demo through the underground to working with one of the genre's recognised specialist labels. Ominous Bloodline artwork Ominous Bloodline demonstrated just how far Beheaded had travelled. The music was ferocious, but it was also technically precise. The guitars moved through intricate structures while the rhythm section provided a relentless foundation. Blast beats and rapid passages were contrasted with slower, crushing sections, while the compositions maintained a sense of direction beneath the sheer violence. International reviews were highly positive. Voices from the Darkside praised the band's combination of technical ability, brutality and atmosphere, while Metal Archives continues to record strong ratings for the album. The record established Beheaded as a serious force within the international brutal death metal scene rather than simply a curiosity from Malta. But success did not make the band's future straightforward. The years surrounding and following Ominous Bloodline brought further line-up changes and uncertainty. David Bugeja, one of the band's founders, had already departed in 2003. Omar Grech became an important part of the guitar line-up, while Chris Mintoff also joined on guitar. Vocal duties changed again, with Lawrence Joyce eventually replaced by Melchior Borg. These changes illustrate one of the most remarkable characteristics of Beheaded's history. The personnel could change considerably while the band's identity remained recognisable. That was possible because there was a strong musical philosophy at its core, and David Cachia remained a continuous presence. His longevity gave the band a connection to its origins even as new musicians arrived. The late 2000s were among the most uncertain years. There were periods of inactivity and rumours that Beheaded might have reached the end of the road. Many bands would not have survived such a period. Beheaded did. Frank Calleja eventually took over vocal duties, bringing with him a different vocal character and helping establish the sound of the band's modern era. After an extended absence from live performance, the group returned to the stage in 2009. The comeback was not simply a nostalgic return. Beheaded were preparing to begin another chapter.

Jodi & Ian have officially released their new single, “Mr. Bluesman,” a blues-inspired track that combines their distinctive musical character with the soul, emotion and energy of the blues. The new release sees Jodi & Ian embracing the expressive qualities of blues music while adding their own identity and musical approach, resulting in a track aimed at both blues enthusiasts and listeners looking for something fresh from Malta’s independent music scene. “Mr. Bluesman” is now available to listeners in Malta and internationally across digital platforms, accompanied by an official video. The release represents another step in Jodi & Ian’s musical journey, and the duo are inviting radio stations, media outlets, music promoters and listeners to discover and share the new track. Release Information Artist: Jodi & Ian Single: Mr. Bluesman Genre: Blues / Blues-inspired Format: Single Official Video: YouTube Listen on Spotify: Spotify Facebook: Jodi & Ian Jodi & Ian would like to thank everyone supporting local and independent music and encourage listeners to give “Mr. Bluesman” a listen and share the release with fellow music lovers. With its blues-driven character, emotion and energy, Mr. Bluesman is now ready to find its audience both locally and beyond Malta. Listen, watch and discover “Mr. Bluesman” by Jodi & Ian now.

Smashed to Shit is a local zine (think DIY magazine), designed and curated by David Cauchi, carrying the slogan “għall-punks, mill-punks” (for punks, by punks). For those familiar with Malta’s punk history, it echoes the spirit of the original MaltaPunks zine Pissed and Fucked Up, which featured contributions from notorious scene figures such as Kinnie (no, not the drink), Żgħiru, iċ-Ċiz, il-Baħri, and countless more. Though it features lengthy tales of the underground back in the day, Smashed to Shit is much more than simply a throwback zine. We spoke to David to understand where this idea came from, why preserving the scene matters so much, and the upcoming all-punk Grintafest inspired by Malta’s very first punk festival, Festaħwid. What was the moment you realised you wanted to create Smashed to Shit? I realised that I wanted to create Smashed to Shit when I would be driving friends to a gig and I would be listening to ISkandal, Dripht, R.A.S. or BNI, and they would ask me, “Who is this band? They’re good.” I would be talking about the band and telling them their stories and the history. Eventually, I realised that this information should be available for everyone, because these things are unfortunately often only told face-to-face. I also realised that these stories shouldn’t be lost to time. That’s why I created Smashed to Shit. I started off the zine doing interviews with older people that have been in the scene since the 90s or 70s, but I’ve also been incorporating the newer bands as well. It started out as a small zine, now it’s huge,. Issue 3, which is our most recent, has around 60 pages. Why a zine, in such a digital era? I decided to make a zine because it was my rebellion against my own profession, graphic design. Sitting down at a desk for an entire day started to become tiring. And in the AI age we live in, it’s become so hard to find things that are made by humans. Even the fact that you have something that is physical, in my opinion it’s nicer because you have something tangible in your hand. A zine is important to have in the punk scene, I love the DIY mentality in the culture. You don’t need much to do it, you don’t have to be a designer, just do it yourself. Of course, you have to leave a digital footprint in this day and age so people know about the project, but the zine is essential and remains the point with the most information. What does “għall-punks, mill-punks” mean to you personally? I say this because we are just people that like punk music and want to share this information with others and make it accessible to everyone. To all the punks that want to read it, and even people that aren’t punks, to be honest it’s accessible even for them. Maybe it could get someone interested in the punk scene in Malta, which is so rich in history, and the music... the music is fucking good. __________________________________________________________________________________ “There was a period where I wanted to stop playing music” __________________________________________________________________________________ What role has the punk scene played in your life? Well, to me it means a lot. There was a period where I wanted to stop playing music, I wanted to sell my guitars, amps, everything. But then, one fine day I was at the Farsons Beerfest 2022, and by coincidence, BNI were playing. I didn’t know who they were, but I just was shocked. First thing I heard were Mammal’s vocals... “That raspiness,” I said to myself, “This is what punk should sound like.” Then hearing the massive feedback from Kinnie’s guitar, it was so loud and punchy. And the strong vocals that would hit you in the face... and then hearing Steve’s drums like a clock ticking, every beat, every drum fill, they tied everything together. I remember a few days later after Beerfest, I decided to try to learn a BNI song, and I did. Thanks to that I still play music. So I credit Maltese punk, mostly BNI, for the fact that I still play music, and of course later other bands such as Xtruppaw, Pupi tal-Logħob, ISkandal, etc. Do you feel a responsibility to document or protect the scene? Well, the first issue started out as a hobby because I was doing something I love doing. But then, I started taking it seriously, so I did start to feel a responsibility to document and protect the punk scene, mainly so that these stories don’t get lost or twisted around from people that aren’t in the scene. People outside the scene will assume that punks are ‘fucked up’ or ‘a bunch of drug addicts’, but in reality it’s not the case. I want people to see that it’s such a fun and nice community, where everyone’s together having fun, no fighting. Everyone there is having a good time. Is there a "gatekeeping" conversation in punk; who counts as punk, who doesn't, and what’s your opinion on it? First things first; ‘Punk is Not A Fashion’, as the band R.A.S. says. To me it is whatever you want it to be. Everyone has their own idea of what punk is which makes it unique. Regarding bands not being punk or ‘not sounding’ punk, it’s mostly all about the mentality. For example, Brodu doesn’t sound punk at all, but the band has such a punk mentality. Żiżża was in a punk band called The Vegetables... yes, he moved on from that, but the mentality is still there. There are also many bands that mix punk with a different genre, like Double Standard, who are a hardcore-punk band. There is such a huge blend of different music styles and genres, that I believe is what makes punk beautiful. People can create what they like and they create it for themselves, and people like it because it is something that feels real. What has been the most special moment since you started this project? My special moments will always be when someone comes up to me and tells me, “You and your team are doing an amazing job,” or, as they say, “Qed tagħmlu biċċa xogħol tal-ostja.” It’s the people that appreciate the things that our team is doing, to me that’s what’s special. Of course, there’s also meeting the bands and the punks that have been in the scene for a while. It’s always special. They tell you so many stories, for example sitting down with Nico, Stephan, Nick Morales, Baħri, and learning the history turns into us talking for hours. In the next issue we will be talking with Żgħiru, who I believe was a very fundamental person in the scene. In the late 90s and early 2000s he created Festaħwid, which was my biggest inspiration to create GrintaFest. I had just seen one video from Festaħwid 6 that Steve Lombardo sent to me, and that was the point when I said, “Okay, I want to do this.” I’m looking forward to talk with Żgħiru for hours. Even the fact that Smashed to Shit is available in stores such as Ġugar and The Garage. Sometimes the owner will tell me that someone from Canada, Austria, etc. bought the zine. It’s crazy that the zine is traveling beyond Malta. What’s your favourite story in Smashed to Shit so far? There are so many, but one of them has to be from the recent issue, issue #3. Stephan told us about one time when they were having a BBQ as usual, and these 3 policemen came up to them to ask what they were doing. They replied to him, “We are just eating, sir,” and one of them (Xixu) turned to the BBQ, picked up a sausage and told him, “Here, do you want a piece for yourself?” There are many others, like when the band ISkandal were going to their garage and they were in Żgħiru’s Suzuki... Nico was standing up in the car and Fre grabbed him by the back to pull him down because his head was about hit the roof of the garage complex where they used to rehearse. You recently announced Grintafest, an all-punk festival happening in September. Can you walk us through the process of creating this event and why it’s so important to you? Well, GrintaFest is an all-punk festival, not sure if you’ve heard, it’s all punk. P. U. N. K. GrintaFest was created out of the fact that I want somewhere to have fun with my friends in, and for the people to have fun. As I said, without Festaħwid there would be no GrintaFest. I am not expecting the same energy as Festaħwid because it was a different time. Festaħwid is legendary to me, so even if we create just a bit of movement, I’ll be very happy. Even getting those people that would attend Festaħwid, I would be very happy. One wish I have is that Dr. Ciz (the Former President of MaltaPunks) comes to GrintaFest. It is important to me to create something for my generation, I want to create memories for people. It is important to tie in the old generation with the new generation, and I’m incredibly happy that Pupi tal-Logħob are playing after I’ve been telling Malcolm and Kuzza to play again for so long. I managed to get them to play again after 8 years... to me it’s a big deal. There is a whole generation that has never heard of them or only know of them from the track “Milli Jidher M’Hu Ħiereg Xejn” from Xtruppaw’s debut album. But most of them have never heard the songs, so I encourage these people to come see them play. To the people that have seen them live before, come and rekindle those memories. If someone picks up Smashed to Shit knowing nothing about Malta's punk scene, what's the one thing you'd want them to walk away with? I want them to go to a local punk gig and experience the scene and the feel. I assure you, it will be fun and you will enjoy it. But also, learn the history of how it started and how it arrived here... it was a different time, no Spotify or YouTube to listen to music. I consider ourselves very lucky being at this point in time in history, but its amazing to see what they managed to do at that time. Where do you want Smashed to Shit to be five years from now (no pun intended)? So many projects, my mind never stops thinking. You can ask the team, I would say, “Okay, let’s do this, let’s film a video, lets do that,” and they tell me, “You’re crazy,” or, “How will you manage to do this in time?” Five years from now I see hopefully having Smashed to Shit be more accessible for everyone, with more issues released. I am currently working on a digital archive website where people will be able to see a small summary of the bands, and access old videos and photos and some of their music. __________________________________________________________________________________ If you're new to the scene, consider this your invitation to catch a gig, pick up an issue of Smashed to Shit, and see what David's been talking about for yourself. Follow Smashed to Shit on Instagram and Facebook to stay updated, and as always, f’għoxx il-punks! D: Sal-mewt!

As the second edition of Malta Metal Weekend approaches, the festival is preparing to bring another substantial dose of international metal to Malta. Taking place between 13 and 15 November 2026, the three-day event features a broad selection of established international and local acts. For the opening night on Friday, 13 November, two particularly important names in European metal history take centre stage: Britain's Paradise Lost and Germany's Kreator. They will be joined by Finland's Omnium Gatherum and Malta's Angelcrypt, but Paradise Lost and Kreator alone represent more than seven decades of combined musical history. Both bands emerged from the European underground during the 1980s, both helped shape extreme metal, and both subsequently took very different musical journeys before arriving at the powerful and mature forms they have today. Paradise Lost: More Than Three Decades on the Dark Side Paradise Lost during the “Ascension of Europe” tour 2025 Few British metal bands have undergone as remarkable a transformation as Paradise Lost. Formed in Halifax, West Yorkshire, in 1988, the band initially established themselves within the emerging death-doom scene. Their debut album, Lost Paradise, released in 1990, was a dark and uncompromising record, combining the crushing weight of doom metal with the aggression and vocals associated with death metal. It was their second album, Gothic (1991), however, that would change everything. Gothic expanded upon the band's heavy foundations with atmospheric keyboards, more pronounced melodic guitar work and guest female vocals, creating a combination of heaviness, melancholy and atmosphere that was remarkably different from most extreme metal being produced at the time. The album is now widely regarded as one of the foundational releases of gothic metal, and Paradise Lost became one of the genre's most influential early bands. Rather than simply repeating the formula, however, the group continued developing. Shades of God (1992) and Icon (1993) introduced greater melody and increasingly memorable songwriting, leading to what many consider the band's defining release, Draconian Times, in 1995. With songs such as "Enchantment", "Hallowed Land", "Forever Failure" and "The Last Time", the album demonstrated that Paradise Lost could retain their heaviness while producing music with enormous melodic and emotional depth. Then came one of the biggest surprises in their career. Instead of following Draconian Times with another similar record, Paradise Lost moved into increasingly experimental territory. One Second (1997) introduced stronger gothic-rock and electronic elements, while Host (1999) moved even further away from conventional metal. The change divided their fan base. Some listeners struggled with the transformation from one of Britain's leading metal bands into something considerably more electronic and atmospheric. Others regarded it as evidence of a band unwilling to allow commercial expectations or audience demands to dictate its direction. Eventually, the guitars returned. Albums including Paradise Lost, In Requiem, Faith Divides Us – Death Unites Us and Tragic Idol progressively re-established the band's heavier identity. With The Plague Within (2015) and Medusa (2017), Paradise Lost went even further, reconnecting with the doom and death-metal influences of their earliest work. Yet they were no longer the same band that had recorded Lost Paradise. More than two decades of experimentation had become part of their musical identity. That mixture of past and present remains evident on their latest studio album, Ascension, released in September 2025. The album brings together many of the characteristics that have defined Paradise Lost throughout their career: crushing riffs, dark atmosphere, melodic guitar work, Nick Holmes' distinctive vocals and the melancholy that has remained a constant feature of their music. Tracks such as "Serpent on the Cross", "Tyrants Serenade", "Silence Like the Grave" and "The Precipice" demonstrate that Paradise Lost can still sound unmistakably like Paradise Lost while refusing to simply recreate their past. This is perhaps the band's greatest achievement. They are not merely a band touring on the reputation of Gothic or Draconian Times. They have continued creating new music while incorporating elements from virtually every stage of their career. After more than three decades, Nick Holmes, Greg Mackintosh and company remain one of Britain's most influential and enduring metal acts. For Maltese fans, their Malta Metal Weekend appearance therefore represents an opportunity to experience a band whose career has helped shape several generations of dark and extreme metal. Kreator: Four Decades of Teutonic Thrash If Paradise Lost represent one of Britain's great journeys through doom, gothic and extreme metal, Kreator embody one of the most enduring stories in European thrash. Kreator live in 2025 Formed in Essen, Germany, in 1982, Kreator emerged from the same underground movement that produced fellow German thrash pioneers Sodom and Destruction. Alongside those bands, Kreator helped establish the aggressive style that became known internationally as Teutonic thrash metal. At the centre of Kreator throughout its history has been vocalist and guitarist Mille Petrozza, whose unmistakable voice, guitar work and songwriting have been fundamental to the band's identity. The band's debut, Endless Pain, appeared in 1985. But it was the following year's Pleasure to Kill that established Kreator as one of the most extreme forces in European metal. Fast, aggressive and uncompromising, the album pushed thrash towards increasingly brutal territory and became enormously influential on the developing death-metal scene. The band's momentum continued with Terrible Certainty (1987), Extreme Aggression (1989) and Coma of Souls (1990). These albums produced some of Kreator's best-known songs, including "Betrayer", "Extreme Aggression", "People of the Lie" and "Terror Zone", while establishing the band as one of the major forces in international thrash. But just as Paradise Lost would later do, Kreator refused to remain trapped by their own history. During the 1990s, the band entered a highly experimental period. Releases such as Renewal, Cause for Conflict, Outcast and Endorama introduced industrial, alternative, gothic and electronic influences. The reaction from the traditional thrash audience was mixed. For some fans, these albums represented a departure too far from the Kreator they had discovered during the 1980s. But with hindsight, this period is an important part of the band's development. Kreator were willing to experiment at a time when many established metal bands were struggling to find their place in a changing musical landscape. Then came Violent Revolution in 2001. The album represented a spectacular return to thrash, but it was not simply an attempt to recreate Pleasure to Kill. Kreator brought the experience of their experimental decade with them, combining their classic aggression with stronger melody, more sophisticated arrangements and modern production. The result began another remarkably successful period. Albums including Enemy of God (2005), Hordes of Chaos (2009), Phantom Antichrist (2012) and Gods of Violence (2017) confirmed that Kreator were once again one of the major forces in European metal. The band's modern incarnation has retained the speed and aggression of classic Kreator while allowing considerably more space for melodic guitar work and expansive songwriting. And Kreator are still moving forward. Their latest studio album, Krushers of the World, was released in January 2026. Produced by Jens Bogren, it represents the latest chapter in a career that has now passed the four-decade mark. The album includes tracks such as "Seven Serpents", "Satanic Anarchy", "Tränenpalast", "Blood of Our Blood" and "Psychotic Imperator", demonstrating that Kreator have no intention of becoming simply a nostalgia act. The remarkable thing about Kreator is precisely that longevity. Many bands from the early thrash movement either disappeared, changed beyond recognition or became touring versions of their former selves. Kreator have managed to remain a functioning creative force, releasing new material while continuing to perform the songs that established their reputation. Mille Petrozza and his band have therefore succeeded in doing something that very few metal bands manage: they have preserved their legacy without allowing it to become a limitation. Two Paths Through European Metal Although Paradise Lost and Kreator developed very different sounds, their stories share some interesting similarities: Both emerged from the European underground in the 1980s and both released highly influential records early in their careers. Both subsequently experimented with their sound, sometimes to the disappointment of sections of their audiences, and both eventually incorporated those experiences into powerful modern versions of their original identities. Paradise Lost travelled from death-doom through gothic metal and electronic experimentation before returning to a broader combination of their influences. Kreator travelled from raw German thrash through industrial and alternative experimentation before rebuilding their sound around a modern interpretation of their classic style. That makes their appearance together on the opening night of Malta Metal Weekend particularly interesting. On 13 November, audiences will see two bands that helped define European metal in very different ways, alongside Finland's Omnium Gatherum and Malta's Angelcrypt. For Paradise Lost fans, it will be a chance to see a band whose career stretches from Lost Paradise and Gothic to Ascension. For Kreator followers, it is an opportunity to witness one of the architects of European thrash continuing to operate at full force more than 40 years after its formation. More importantly, neither band arrives in Malta simply to celebrate the past. Paradise Lost and Kreator are still writing their stories. And on the opening night of Malta Metal Weekend 2026, two very different chapters of European metal history will meet on the same stage . Malta Metal Weekend 202613–15 November 2026 Official Malta Metal Weekend website and ticket information

From Malta's early death metal underground to an international institution There are bands that become important because of the records they release, bands that become important because of the musicians who pass through their ranks, and bands that become important because they manage to change the perception of an entire scene. In the history of Maltese heavy metal, Beheaded belong to all three categories. Formed in 1991, the same year that would also see the birth of fellow Maltese institution Forsaken, Beheaded have spent thirty-five years building a legacy that extends far beyond the confines of the island on which they began. From the primitive and fiercely independent underground of the early 1990s to international tours, respected record labels and a catalogue of increasingly sophisticated brutal death metal, their journey is one of persistence, evolution and an almost stubborn refusal to accept geographical limitations. In 2026, as Beheaded celebrate their 35th anniversary, their story has become inseparable from the history of Maltese extreme metal itself. They were among the first Maltese bands to demonstrate convincingly that a group from this small Mediterranean island could compete internationally within one of the most demanding branches of heavy music. Over the decades, they have survived changing musical fashions, numerous line-up alterations, periods of inactivity, long gaps between albums and the disappearance of the underground infrastructure through which they originally established themselves. Yet they have continued to return, each time with something new to offer. Their latest album, 2025's Għadam, perhaps illustrates that spirit better than anything else in their history. After three and a half decades spent developing their own interpretation of death metal, Beheaded produced an album performed entirely in Maltese and inspired by the work of Maltese horror writer Anton Grasso, turning their attention towards the culture and language of the very island from which they had once sought to break into the wider world. Souldead Line up 1993 - 1995 photo: Beheaded (Facebook) To understand what Beheaded achieved, however, one has to return to Malta in 1991. The island's music scene was very different from the one that exists today. There was no social media through which a newly formed band could instantly reach listeners around the world, no streaming platform through which a song could be uploaded and discovered within hours, and no sophisticated digital infrastructure connecting local musicians with international promoters and labels. For an extreme metal band, the underground was largely built through personal contacts, record shops, specialist magazines, fanzines, cassette trading and correspondence. Geography mattered enormously. Malta's position in the Mediterranean made international touring considerably more complicated and expensive, while the local market was inevitably tiny. It was within this environment that Beheaded emerged. The band was formed in 1991 in Fgura, with guitarist David Bugeja and drummer Chris Brincat among the founding members. Vocalist Marcel Scalpello was also part of the original formation, while David Cachia joined during the band's formative period and would ultimately become the one constant presence connecting the earliest days of Beheaded with their modern incarnation. The group was initially exploring death metal and grind-oriented extremity at a time when the genre itself was undergoing a spectacular transformation internationally. The groundbreaking work of bands such as Death, Morbid Angel, Suffocation, Obituary and other pioneers was redefining what heavy music could sound like, and the young musicians in Beheaded were eager to participate in that evolution. The early line-up was not static. As was common with young underground bands, Beheaded went through changes while searching for the right combination of musicians and the right musical direction. Tyson Fenech was among those involved on guitar during the early period, while Cachia became increasingly central to the band's development. Metal Archives credits him with joining in 1993, and his subsequent longevity would make him arguably the most important continuous link in the band's entire history. The Beheaded of 2026 is very different from the Beheaded of 1991, but through Cachia there is a direct line between the two. Souldead Line up 1993 - 1995 photo: Beheaded (Facebook) The first major milestone came in 1995 with the recording of Souldead. In an era when a demo cassette could determine whether an unknown band remained a local curiosity or became part of the international underground, Souldead was hugely important. The recording circulated beyond Malta and began attracting attention from listeners, musicians, fanzines and labels abroad. Its significance went beyond the quality of the music itself. It demonstrated that Maltese musicians could produce extreme metal capable of standing beside recordings coming from countries with far more established death metal traditions. One of the tracks associated with this formative period, “Vae Victus”, also appeared on the Maltese compilation The Storm Has Begun. Such local compilations were important documents of Malta's developing underground, providing bands with a means of presenting themselves collectively and demonstrating that a genuine heavy music community existed on the island. For Beheaded, however, the ambition was already larger. Souldead became a calling card that could be sent abroad, and the band's growing international contacts eventually resulted in a recording deal with Sweden's X-Treme Records. That agreement led to the recording of Beheaded's first full-length album at Temple Studios in Malta. The album was recorded in 1996, but its eventual release would be delayed until 1998. That delay could easily have undermined the momentum generated by the demo, but instead Perpetual Mockery arrived as a powerful statement of intent. Released by X-Treme Records in June 1998, the album introduced international listeners to a band that was already considerably more developed than the rawness of a first demo might have suggested. Perpetual Mockery artwork By this point, Omar Grech had replaced Tyson Fenech on guitar, joining a line-up that included Marcel Scalpello, David Bugeja, David Cachia and Chris Brincat. Perpetual Mockery revealed a band still exploring its identity, but one already displaying impressive technical ability and a willingness to move beyond straightforward death metal formulas. The music contained the aggression expected of the genre but also demonstrated an awareness of dynamics, tempo changes and atmosphere. It was not yet the relentlessly brutal Beheaded that would emerge during the following decade, but the foundations were clearly there. The international reaction was encouraging. Metal Archives records strong retrospective ratings for the album, while contemporary and later assessments have recognised Perpetual Mockery as an important early statement from a band that would eventually become one of Europe's better-known brutal death metal acts. More importantly, the album established something that would remain central to Beheaded's identity: they were not simply a Maltese band attempting to imitate foreign musicians. They were a serious death metal group whose geographical origin happened to be Malta. The release also opened the door to international touring. Beheaded began appearing on European stages, including performances in countries such as the Czech Republic, Slovakia and Germany, and sharing bills with established names in the death metal underground. For musicians from Malta in the late 1990s, this was no small achievement. Every trip required the band to cross the sea and overcome the logistical and financial complications inherent in being based on an island. Yet those difficulties did not stop them.

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

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

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

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

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

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

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

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

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