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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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