photo: Adrien Painchaud Brighton-via-Malta post-punk quartet ĠENN have announced the release of Demo Sessions #1, a handcrafted bootleg CD created entirely by the band and inspired by the raw spirit of underground music culture. Initially produced ahead of the band’s February UK tour, the limited-run CD features an unreleased demo track packaged in handmade sleeves, individually burned, assembled, and personalised by the band themselves. Following overwhelming demand at live shows, Demo Sessions #1 is now available worldwide through the band’s official webstore. Speaking on the project, ĠENN describe the release as both an artistic statement and an act of resistance in an increasingly automated and commercialised music landscape. “From their inception, bootleg recordings represented a one-of-a-kind moment captured in time,” the band explain. “They symbolised rebellion against the music industry and reflected communities hungry for more art, more music, and the rawest possible takes.” The release arrives at a time when streaming platforms are increasingly saturated with algorithm-driven and AI-generated content. In response, ĠENN sought to revive the tactile, imperfect, and deeply personal process of physical music-making through their new Demo Sessions series. “In an era of mass production and instant gratification, painstakingly burning CDs and crafting sleeves by hand has become a rarity,” the band state. “Presenting an unmixed, raw track — untouched by perfectionism or artificial enhancement — is its own form of resistance.” The band also emphasised the wider cultural significance behind the release, pointing to the growing difficulties faced by independent artists and grassroots venues across the UK music scene. “As gatekeepers tighten their purse strings, grassroots venues continue to disappear, and working-class and minority artists face increasing barriers into the industry, going back to the roots feels more important than ever.” Known for blending post-punk urgency with psychedelic textures and politically charged songwriting, ĠENN have steadily built a reputation as one of the UK alternative scene’s most exciting live acts. Originally formed in Malta before relocating to Brighton, the quartet — Leona Farrugia, Janelle Borg, Leanne Zammit, and Sofia Rosa Cooper — continue to champion DIY ethics through both their music and live performances. The release of Demo Sessions #1 follows a busy period for the band, including recent UK live dates and appearances across festivals and independent venues. Demo Sessions #1 is available now via the band’s official store: genntheband.com Shipping is available worldwide.

Rock Camp Malta & Finland proudly announce their first official event: an exclusive artist meet-and-greet and jamming session with acclaimed guitarist Alexander Kuoppala, best known for his work with the iconic metal band Children of Bodom and his current project Thyrargo. This special, free-entry event invites fans, guitar enthusiasts, and the wider metal community to connect with one of Finland’s most respected metal musicians. Attendees will have the unique opportunity to meet Alexander in person, hear insights into his creative process, and participate in an open jam session led by the artist himself. The event will take place on Thursday, 14th May, at The Garage in Zebbug , with doors opening at 6:00 PM. As Rock Camp Malta & Finland’s inaugural public event, the evening sets the tone for a series of collaborative cultural and musical initiatives aimed at building bridges between the Maltese and Finnish rock and metal communities. Whether you’re a long-time fan or simply passionate about guitar-driven music, this is a rare chance to experience up close the artistry and energy of a musician who helped shape one of metal’s most influential sounds. Event Details Artist: Alexander Kuoppala Date: Thursday, 14th May Time: Doors open at 6:00 PM Venue: The Garage, Zebbug Admission: Free Hosted by: Rock Camp Malta & Finland Event Page

Charles Coleiro is one of Malta’s most respected folklorists, cultural researchers, and literary figures, widely known for his lifelong dedication to the study and preservation of Maltese intangible heritage. His work spans folk singing (għana), village feasts (il-festa), Maltese language advocacy, and cultural education through media and publications. Over several decades, he has become a key voice in documenting and interpreting the traditions that shape Maltese identity. A central focus of Coleiro’s work is Maltese għana, the traditional improvised folk singing form that represents one of Malta’s oldest surviving oral traditions. He consistently emphasises that għana is not a historical relic but a living cultural practice that continues to exist in villages, social gatherings, and festive environments. Through lectures, research, and public commentary, he has highlighted its stylistic diversity and its role as both artistic expression and social commentary. His interpretation of għana stresses its importance as a cultural language through which communities express identity, wit, and collective memory. Equally important in Coleiro’s research is his work on Maltese village feasts (il-festa), which he analyses as complex cultural systems combining religious devotion, civic pride, musical performance, and communal participation. He has described the festa as a dynamic institution that evolved over time, particularly during and after the Knights’ period, becoming one of the most visible expressions of Maltese community life. His analysis often focuses on how modernisation, tourism, and media exposure have influenced these traditions while still allowing them to remain deeply rooted in local identity. Coleiro is also a strong advocate for the Maltese language, repeatedly challenging historical attitudes that treated Maltese as socially limited or culturally secondary. He has argued that Maltese belongs to all social groups and must occupy a central place in education, public life, and cultural expression. His work in this field connects linguistic identity with national heritage, reinforcing the idea that language is a core pillar of cultural continuity. photo: Akkademja tal-Malti In addition to his research and advocacy, Coleiro has contributed significantly to Maltese broadcasting and cultural education. Through media appearances, lectures, and participation in cultural programmes, he has helped bring folklore into the public sphere, making academic insights accessible to wider audiences. This public-facing dimension of his work has been essential in keeping traditional Maltese culture visible and relevant in contemporary society. His contributions have been widely recognised by national and cultural institutions. One of the most significant recent honours came in 2025, when Charles Coleiro was awarded the Gold Medal “Ġieħ l-Akkademja tal-Malti” in recognition of his lifelong contribution to Maltese language and culture. According to Newsbook, the award was presented during an official ceremony held at Palazzo Sant’Anton in Ħ’Attard, under the patronage of the President of Malta. The ceremony highlighted Coleiro’s extensive cultural work, particularly his dedication to Maltese għana, village feasts, language, and literature. photo: Akkademja tal-Malti The event also included readings, speeches, and a biographical film showcasing his cultural contributions. Speakers praised his decades-long commitment to Maltese identity and emphasised the urgent need for continued investment in the Maltese language, including education, publishing, and technological support. The award reaffirmed Coleiro’s status as a key figure in Maltese cultural preservation and intellectual life. In addition to this honour, Coleiro had previously been awarded the Midalja għall-Qadi tar-Repubblika (2015), further recognising his service to Maltese culture and language. Coleiro’s published works include both literary and scholarly contributions. Among his early works is the poetry collection Mirja ta’ Qalbi (1965), followed later by Janus Miljard (2004). One of his most important cultural studies is Il-Festi Tagħna, which examines Maltese village feasts from a sociological and cultural perspective. Beyond books, his output includes essays, conference papers, and media contributions on folklore, language, and Maltese cultural identity, many of which have circulated widely in Maltese cultural discourse. Overall, Charles Coleiro’s work represents a sustained effort to document, interpret, and preserve Maltese cultural heritage. His scholarship consistently presents folklore as a living system rather than a static archive, emphasising continuity between tradition and modern life. Through his research, advocacy, and public engagement, he has helped ensure that Malta’s intangible cultural heritage remains an active and evolving part of national identity.

Dominic Galea Chief Executive Officer - photo: NAPA Established in 2023, Malta’s National Agency for the Performing Arts (NAPA) has rapidly positioned itself as a central force within the country’s cultural ecosystem. Bringing together theatre, dance, and music under one strategic umbrella, the Agency is redefining how the performing arts are created, supported, and experienced in Malta. At its core, NAPA functions as both an administrative framework and an artistic catalyst. It provides a unified structure for the country’s national companies—Teatru Malta, ŻfinMalta, and KorMalta—allowing each to retain its identity while benefiting from shared resources and a common vision. Within this structure, music has emerged as one of the Agency’s most dynamic and outward-facing pillars. A Strategic Vision with Music at Its Core NAPA’s model is built on collaboration, sustainability, and innovation. By aligning policy, production, and artistic development, it fosters an environment where interdisciplinary work can thrive. Music, in particular, plays a vital role in this ecosystem—not only through standalone concerts, but also as a unifying element across theatre and dance productions. NAPA team - photo: NAPA KorMalta, the national choir, remains central to this vision. Through its work, NAPA continues to invest in both the preservation of choral heritage and the exploration of contemporary musical expression, ensuring that Malta’s vocal tradition evolves alongside modern artistic practices. Celebrating Malta’s Musical Identity: Jazz Assemblea One of NAPA’s most significant recent initiatives has been Jazz Assemblea, a large-scale project dedicated to Malta’s jazz heritage and contemporary scene. The 2025 edition brought together more than 60 musicians across concerts, workshops, and discussions, alongside a multidisciplinary exhibition exploring the island’s 90-year relationship with jazz. Held at Spazju Kreattiv in Valletta, the festival traced the evolution of jazz in Malta—from the vibrant Strait Street era to today’s thriving community—highlighting how generations of musicians have shaped and sustained the genre. More than a festival, Jazz Assemblea demonstrated NAPA’s ability to combine research, performance, and education into a single cohesive experience. It also reinforced music’s role as a living cultural archive, connecting past and present through performance. Spotlight on Maltese Jazz Creation: Ray Agius’ Supernova A standout moment within Jazz Assemblea 2025 was the launch of Supernova, a new album by Maltese pianist and composer Ray Agius, presented on 2 November 2025 at the Theatre, Spazju Kreattiv. The concert served as the festival’s grand finale, bringing together an ensemble of leading local musicians for a celebratory live performance. 'Supernova' album launch November 2025 - photo Ray Agius The line-up featured Ray Agius alongside Dominic Galea on piano, Walter Vella on saxophone, Adrian Russu Brincat on trumpet, Oliver Degabriele on double bass, Ġużè Camilleri on drums, and Nadine Axisa on vocals. The evening concluded with a reception and an exclusive vinyl signing, offering audiences a rare opportunity to engage directly with the artists. Notably, Supernova went on to receive significant recognition within the local music scene, securing second place in the annual Melodija Awards for 2025 releases—an achievement that further underscores the album’s artistic impact and resonance with audiences and critics alike. As a co-production between NAPA and Spazju Kreattiv, Supernova exemplified the Agency’s commitment to supporting original Maltese music at the highest level. The project not only showcased compositional talent within the local jazz scene but also highlighted the importance of live performance as a space for collaboration, celebration, and artistic exchange. A Contemporary Pulse: Night Walk – Sfera Album Launch 'Night Walk' album launch poster NAPA’s commitment to contemporary music-making was further evident in the recent Night Walk album launch by the ensemble SFERA, held on 25–26 April 2026 at the Malta Society of Arts in Valletta. Following their debut album Gatt Groove, the group presented a new body of original work that reflects an evolving artistic direction and a strong commitment to innovation within Malta’s jazz and experimental music scene. The event highlighted NAPA’s role not just as a presenter, but as an enabler of new music. By supporting original compositions and album launches, the Agency is actively contributing to the creation of new Maltese repertoire, ensuring that local music continues to develop in both depth and diversity. Interdisciplinary Productions and International Reach Beyond individual events, NAPA’s broader programme reflects its interdisciplinary ethos. Its productions frequently blend music with theatre and dance, creating works that resonate across artistic boundaries. Through collaborations and co-productions, the Agency has also extended its reach beyond Malta, presenting work on European stages and strengthening international cultural exchange. Music often acts as the connective thread in these productions—whether through live performance, composition, or thematic inspiration—further underlining its central role within NAPA’s artistic identity. Kor Malta - photo Mel Giordi Engaging Audiences and Building Communities NAPA’s impact extends beyond performance into education and audience development. Workshops, discussions, and outreach initiatives form a key part of its programming, inviting audiences to engage more deeply with the arts. Music plays a particularly effective role in this engagement. From jazz workshops to choral initiatives, NAPA uses music as a bridge between artists and communities, fostering accessibility while nurturing the next generation of performers and audiences. Looking Ahead As NAPA continues to evolve, its early achievements point to a promising future. By combining institutional support with artistic ambition, it has created a platform where Malta’s performing arts can flourish. Crucially, music remains at the heart of this journey. From large-scale festivals like Jazz Assemblea to artist-led projects such as Supernova and forward-looking releases like Night Walk, NAPA is not only preserving Malta’s musical heritage but actively shaping its future. In just a few years, the Agency has established itself as more than a coordinating body—it is a creative engine, a cultural ambassador, and a powerful voice for Malta’s performing arts, with music leading the way. Further information about NAPA can be found here

SAĦĦAR Announces New Album Miġja ta Moħħ Miġnun Out June 12, 2026 via Time To Kill Records Malta’s enigmatic black metal force Saħħar returns with a new full-length opus, Miġja ta Moħħ Miġnun (“Journey of a Mad Mind”), set for release on June 12, 2026 via Time To Kill Records. Available on LP, CD, MC, and digital formats, the album marks a bold new chapter in Saħħar’s ever-expanding body of work. A one-man creative entity at its core, Saħħar—helmed by Marton Saliba—continues to blur the boundaries between composition, storytelling, and sonic extremity. On Miġja ta Moħħ Miġnun, Saliba performs all studio instruments and vocals, while a dedicated live lineup brings the material to the stage: David Cutajar – Live Guitar Gordon O’Reilly – Live Bass Kyle Anthony Cortis – Live Guitar A Descent into Forbidden Knowledge Miġja ta Moħħ Miġnun is a concept album presented as a prose narrative, chronicling the psychological and spiritual descent of a man driven by an insatiable hunger for forbidden knowledge. Abandoning worldly comforts, the protagonist ventures through ancient scrolls, hidden caves, and forgotten maps, ultimately crossing the threshold between life and death. Defying religious authority and embracing arcane forces, he evolves into a sorcerer-like figure—possibly an Antichrist—encountering resurrection, occult rituals, and visions of a mysterious underworld queen. His journey culminates in a state of paradox: both cursed and exalted, suspended between madness, immortality, and damnation. The story draws inspiration from a Maltese legend documented by Agostino Levanzin, itself rooted in real 16th-century events. As with all Saħħar releases, the narrative is delivered entirely in Maltese, enhancing the album’s mystique and cultural depth. Sonic Identity Musically, Saħħar remains firmly rooted in black metal while weaving in symphonic, doom, necro, and raw/traditional elements—often described collectively as “Ruinous Black Metal.” The album unfolds through a dense yet deliberate pacing, combining a relentless wall of sound with Saħħar’s distinctive vocal delivery. Fans of Dark Funeral, Gorgoroth, Mortuary Drape, and early Dimmu Borgir will find familiar darkness here, yet Miġja ta Moħħ Miġnun stands apart through its narrative ambition and linguistic uniqueness. Tracklist L-Għatxan Għerf Minsi It-Tarf tal-Kożmu u ta' Ruħi Fil-Palazz Sejjaħtilhom Il-Miġja sa Sqallija Ftakar fija! L-Antikrist il-Ġdid CD Bonus Tracks: 8. Id-Dinja Taħt Pajjżi 9. L-Imlejka Formats & Catalogue Numbers CD (TTK176cd) – 0789091840367 LP (TTK176lp) – 0789091840374 LP Special (TTK176lps) – 0654403747101 MC (TTK176mc) – 0789091840381 About Saħħar A respected name in the underground scene, Saħħar has built a prolific discography including six full-length albums, six EPs, a demo, and a live-in-studio release. His work consistently explores themes of death, human corruption, anti-religious sentiment, and Maltese folklore. Saħħar has shared stages with notable acts such as Destroyer666, Gothminister, Poema Arcanus, and Mayhem, further cementing his presence in the international extreme metal circuit. Miġja ta Moħħ Miġnun will be available worldwide on June 12, 2026 via Time To Kill Records. Pre-orders and streaming previews are available through official band and label channels.

KRISHNA ‘Abaddon’ A first listen to a track from Krishna's upcoming album 'Absence As Loss' with single ‘Abaddon’. Originating from Hebrew literature, and symbolises the Angel of the Bottomless Pit. The band chose this title to symbolise the continual process of living with the void and accepting it as part of one's life. ‘Absence as Loss’ explores a broader emotional depth to Krishna's music. Whilst keeping the central theme of loss, the album explores the continual void created by an individual's absence in other's lives, the chain of events created as a result of that loss and the continual process of coming to terms and growing with that void. LISTEN TO ABADDON HERE The album is available on extremely limited edition cassette, with full art J-card insert, and transparent shell. Available to preorder now on bandcamp! Krishna is an instrumental heavy music duo from Malta consisting of Timothy Garrett on guitar and Alan Darmanin on drums. Krishna’s sound is very much indefinable, however, in musical terms, it channels such styles and techniques of post-metal, post-rock, drone, ambient, stoner, doom as well as a host of other genres. Written and Performed by Timothy Garrett and Alan Darmanin Drums by Alan Darmanin Guitar, Effects by Timothy Garrett Mixing by Derek Leisy Mastering by Brad Boatright Recording by David Depasquale Krishna return to launch their third record, performing ‘Absence As Loss’ in full. 16/05/2026 Tigullio, St Julian’s Joining are local heavyweights Repugnance and DALAM. All Our Releases Want to help both the artists and the label, plus get some killer music in return? Check out our store to purchase some limited edition cassettes, vinyl and more! Copyright (C) 2026 Kewn Records. All rights reserved

Emerging from the shadowed rites of the underground, Vampyr Nox is set to cast its spell over Malta’s alternative scene, a nocturnal celebration steeped in darkness, ritual, and sound. Conceived as part of the observance of World Goth Day, and serving as the official after-rite of Dark Malta 2026, this gathering promises an immersive descent into the heart of gothic culture. World Goth Day, celebrated each year on May 22, is a global tribute to goth culture in all its forms, music, fashion, art, and philosophy. Originating in 2009 through an initiative by UK DJs and fans seeking to spotlight alternative subcultures, it has since evolved into an international phenomenon. On this day, communities across the world host concerts, club nights, exhibitions, and meetups, all aimed at fostering inclusivity and appreciation for a scene often misunderstood or marginalized. From the melancholic tones of darkwave and post-punk to the theatrical aesthetics of gothic fashion, World Goth Day serves as both a celebration and a statement: that darkness, in its many artistic expressions, is something to be embraced rather than feared. In Malta the premier event will be Vampyr Nox. The event will be held on SATURDAY, 16 MAY 2006, at ISSA (Ħamrun), “każin għall-arti emerġenti”—curated by Electronic Music Malta. FREE ENTRANCE. At the helm of this ritualistic gathering are two key figures of the scene. ⸸ A Stranger, of The Sisterhood, brings an enigmatic presence, channeling the esoteric essence of gothic tradition, while ⸸ DJ Hades, founder of Dark Malta, Dungeon, and The Sisterhood, delivers a commanding set rooted in the darker spectra of electronic music. Vampyr Nox stands as a celebration of identity, music, and nocturnal unity, an invitation to those drawn to the shadows, where expression thrives beyond the conventional. With free entrance, the event opens its gates to both seasoned devotees of the scene and curious newcomers alike, offering a rare chance to experience Malta’s gothic underground in its most authentic and unrestrained form.

Crossover metal veterans Norm Rejection have sparked excitement among fans after revealing that they are once again collaborating on new material. In a Facebook post dated April 6, 2026, the band confirmed that its original lineup is actively working together, hinting at what could be their first new release in over a decade. 1994 The first band photo. Formed in 1993, Norm Rejection quickly established themselves as one of Malta’s most distinctive heavy acts. Their sound is a fierce and uncompromising blend of metal subgenres, fusing thrash intensity, sludge weight, hardcore aggression, doom atmospherics, and punk energy into a unique crossover style that has stood the test of time. Over the years, the band has built a solid discography that reflects both evolution and consistency. Their early EP Subtly Mesmerized? (1994) introduced their raw, genre-defying approach, followed by their debut full-length Deconform (1998) and its successor 0002 (2000), both of which helped cement their reputation in the underground scene. After a long hiatus, they returned with the Belligerent EP in 2011 and later released The Radical Underground in 2014, marking a powerful comeback. The Radical Underground launch gig poster Throughout their journey, Norm Rejection also collaborated with notable contributors. The late Andrew Martin (R.I.P.) added keyboard textures to Deconform and 0002, enriching the band’s sonic depth, while Rex Grech Santucci handled bass duties on Belligerent and The Radical Underground. Now, in 2026, the band’s original lineup—Wil Pace (vocals), Sean Vukovic (guitar), Jo Kerr (bass), and Michael Briguglio (drums)—has reunited creatively, signaling a return to their roots. This development is particularly significant for longtime followers, as it marks the first time in years that the founding members are writing together again. While details about the new material remain scarce, the announcement alone has reignited interest in the band’s legacy and future. Given their history of pushing boundaries and blending genres with intensity and authenticity, expectations are high for what’s to come. If their past releases are any indication, Norm Rejection’s upcoming work could deliver a powerful and relevant statement—one that bridges their underground origins with a renewed creative vision shaped by decades of experience. For now, fans can only wait—but the message is clear: Norm Rejection are back, and they have something new to say. all photos: Facebook

In February 2006, Maltese brutal death metal outfit Abysmal Torment released their debut full-length, Epoch of Methodic Carnage—a record that, two decades later, stands as a defining moment not only for the band, but for extreme metal emerging from Malta’s underground. album cover Formed in 2000 under the name Molested, Abysmal Torment developed their sound through early demos before gaining traction with the Incised Wound Suicide EP in 2004. Their signing to Brutal Bands marked a turning point, culminating in the release of their first full-length in 2006. Recorded in August 2005 at Temple Studios in Mistra Bay, Malta, the album captured a young band transitioning from derivative beginnings into something more distinct. At its core, Epoch of Methodic Carnage is a brutal death metal record—but one that subtly bends genre expectations. Critics and listeners alike noted its unusual emphasis on groove and memorability within a style often associated with relentless chaos. Rather than relying solely on blast beats and technical excess, the band constructed songs around tight, rhythmic riffing and dynamic pacing. Guitarist David Depasquale’s approach emphasized catchy, almost hypnotic patterns, while still retaining the genre’s crushing weight. Abysmal Torment (cd insert) The dual-vocal assault—courtesy of Gordon Formosa and Nick Farrugia—added depth and texture, reinforcing the album’s violent aesthetic without sacrificing clarity. Meanwhile, drummer Wayne Vella delivered a performance that balanced speed with precision, punctuating songs with intricate fills and rhythmic shifts. The album’s ten tracks form a cohesive, tightly structured experience. From the opening blow of “Relapse into Sickness” to the closing brutality of “Gratification Through Castration,” the record rarely relents. Notable tracks on the album include “Addicted to Smothered Throats,” which stands out as a showcase of groove-driven brutality; “Befouled with Zest,” frequently highlighted by listeners for its memorable structure; and the title track “Epoch of Methodic Carnage,” a centerpiece that effectively blends atmosphere, samples, and crushing riffs. The use of samples—often a cliché in the genre—was handled with unusual care, contributing to the album’s pacing and thematic cohesion. Lyrically, the album embraces themes of violence, war, and bodily destruction, aligning with brutal death metal conventions while reinforcing the “methodic carnage” concept suggested by its title. In 2006, Malta was hardly recognized as a hotspot for brutal death metal. Epoch of Methodic Carnage helped change that perception. The album demonstrated that extreme music from smaller scenes could compete with—and even stand apart from—established acts in the genre. Rather than imitating genre leaders outright, Abysmal Torment carved out a niche defined by groove, structure, and subtle experimentation. As one reviewer observed, the band was not trying to become the next big name in the scene—they were becoming themselves. Epoch of Methodic Carnage European Tour Looking back from a 20-year vantage point, the album’s importance is amplified by what followed. Abysmal Torment would continue to evolve on later releases like Omnicide (2009), refining their sound and gaining further recognition. However, the legacy of Epoch of Methodic Carnage is inseparable from the memory of Wayne Vella, whose drumming played a crucial role in shaping the band’s early identity. His untimely death in 2010 at just 25 years old cast a shadow over the band’s history, making his performances on this album all the more poignant. Two decades after its release, Epoch of Methodic Carnage remains a standout debut—raw yet deliberate, brutal yet unexpectedly engaging. It captured a band in the act of defining itself and, in doing so, helped put Maltese extreme metal on the map. For longtime fans, it is a reminder of a formative era. For new listeners, it remains an essential entry point into both Abysmal Torment’s discography and the broader brutal death metal landscape. Its title promised systematic destruction. Twenty years later, its impact still resonates with methodic precision.

MOTHERKNIVES ‘OTHERSIDE’ Motherknives release their new track ‘Otherside’ as part of their ongoing collaboration with Kewn Records introducing Motherknives as a new, distinctive voice blending goth, heavy rock, trip-hop, and underground alternative influences. “Otherside” is an ode to the presence of the afterlife within our waking lives; the sense that we coexist across different planes with the spirits of mothers, fathers, relatives, friends, and other cherished souls who have passed on. The song was written for the infinite spirit of Francesca’s grandmother, Nazzarena, as a thank you for her nurturing love. It captures an out-of-body experience, where the spirit leaves the body to briefly meet a loved one beyond and return. A ghostly encounter, a grieving fantasy. LISTEN TO 'OTHERSIDE' HERE Francesca Mercieca – vocals, keys Quentin Falzon – drums Steve Shaw – bass Tony Bartolo – guitar Emerging from the basement garage, Motherknives are shaped by 90s underground influences while blending elements of 80s goth, heavy rock riffs, pop-like melodies, and trip-hop atmospheres. Their sound is both raw and cinematic, being grounded in alternative grit yet driven by melody. The track was recorded, produced, mixed and mastered by Capitol K. Artwork Design by Micaela Bogen Band Photo by Eliza Von Brockdorff Motherknives will be returning to Rock The South as part of the festival’s 13th edition this coming May! Always a special festival for the local music scene, we can’t wait to catch Motherknives bringing their goth moods and underground grit to Rock the South once again! All Our Releases Want to help both the artists and the label, plus get some killer music in return? Check out our store to purchase some limited edition cassettes, vinyl and more! Copyright (C) 2026 Kewn Records. All rights reserved

In the rugged northern landscape of Malta, a cave once occupied by some of the island’s earliest humans is now the focus of a very different kind of historical investigation—one that bridges archaeology with underground music culture. The cave in question, known as Latnija and colloquially referred to as It-Toqba or Il-Ħofra, recently made international headlines through groundbreaking research led by Eleanor Scerri. As part of the IslandLab project, excavations revealed evidence pushing human occupation of the Maltese islands back 8,000 years to the Mesolithic period—over a millennium earlier than previously believed. But while its ancient past is now being rewritten, Latnija Cave also holds a far more recent—and far less documented—history. A Different Kind of Heritage Latnija Cave - photo: Steely D Building on this archaeological milestone, Joshua de Giorgio has partnered with John Schofield, Director of Studies in Cultural Heritage at the University of York, to explore the cave’s role in Malta’s underground music scene. Their new project shifts focus from prehistoric habitation to the late 20th and early 21st centuries, when the cave reportedly became an unlikely venue for impromptu “cave parties.” These gatherings—rumored to have taken place throughout the 1990s and early 2000s—are remembered by some as raw, unregulated expressions of rave culture. Schofield, himself a self-described lover of live music and occasional DJ, recently took to social media to crowdsource information. In a public post, he called on DJs and locals with memories of the era to come forward, specifically asking whether anyone had performed at or attended parties in a Maltese cave during that period. Reconstructing a Fleeting Scene Unlike formal music venues, these cave raves left little in the way of official documentation. There are no ticket stubs, permits, or lineups archived in institutional collections. Instead, the researchers are turning to oral histories, personal photographs, and ephemeral materials such as flyers—if any still exist. The project aims to capture not just who played and what music defined the scene, but also the sensory and social experience of the gatherings: the acoustics of the cave, the atmosphere, and the motivations of those who sought out such unconventional spaces. This approach aligns with a growing academic interest in “alternative heritage”—the idea that cultural significance is not limited to ancient artifacts or monumental architecture, but also includes lived experiences and subcultures that shape a place’s identity. Echoes of a Global Movement Cave Rave early 1990s Cumbria UK - photo: Steely D The Maltese cave parties may also reflect a broader phenomenon. Across Europe in the 1990s, rave culture thrived in unconventional locations—from abandoned warehouses to remote outdoor settings. Notably, similar “cave raves” were documented in places like Cumbria in the UK, suggesting a shared ethos of reclaiming natural or forgotten spaces for collective musical expression. By situating Malta within this wider context, the researchers hope to understand how global movements in electronic music culture manifested locally—and how they intersected with the island’s unique geography and history. A Call for Memories At its core, the project is collaborative. De Giorgio has issued an open invitation to anyone with memories of the cave parties to contribute, whether through interviews, images, or personal anecdotes. Participants can remain anonymous, and the research will adhere to established ethical standards, with the goal of producing a peer-reviewed academic publication. In doing so, the team hopes to preserve a fleeting chapter of Malta’s cultural history—one that, like the echoes of music in a cave, risks fading unless actively recorded. Layers of Time John Schofield in Valletta 2025 - photo John Schofield Latnija Cave now stands as a compelling symbol of continuity and contrast: a site where traces of Mesolithic life coexist with the more recent reverberations of basslines and dance floors. From prehistoric shelter to underground rave venue, its story challenges conventional boundaries between archaeology and modern heritage. As research unfolds, one thing becomes clear: history is not only what is buried deep in the ground—but also what lingers in memory, waiting to be rediscovered. If you've partied at Latnija get involved and share your experiences!!

A Complete History of Songs and Artists Malta’s participation in the Eurovision Song Contest is a story of resilience, musical excellence, and an enduring ambition to secure a long-awaited victory. Since its debut 55 years ago, in 1971, the country has sent a wide range of artists and songs, evolving from locally inspired entries in the Maltese language to polished, internationally competitive productions in English. Although Malta has never won the contest, it has achieved remarkable success, particularly during the 1990s and early 2000s, and remains one of Eurovision’s most respected non-winning nations. Joe Grech – Marija l-Maltija (Photo: RTÉ Archives) Malta first appeared in the contest in 1971 with Joe Grech performing Marija l-Maltija, a song deeply rooted in Maltese culture and identity. Despite its authenticity, the entry finished in last place. The following year, Helen Micallef and Joe Cutajar represented the country with L-Imħabba, a gentle romantic duet, but once again Malta finished last. After withdrawing in 1973, Malta returned in 1975 with Renato Micallef singing a pop song titled Singing This Song that achieved a modest 12th place. Financial and strategic concerns led to another withdrawal in 1975, marking the beginning of a long absence from the competition.   Paul Giordimaina and Georgina - Could It Be (Photo: Youtube) When Malta returned in 1991, it did so with a new approach that would define its Eurovision identity for years to come: strong vocalists performing English-language ballads. Paul Giordimaina and Giorgina opened this new era with Could It Be, a soft and melodic ballad that placed sixth. The following year saw a major breakthrough when Mary Spiteri performed Little Child, an emotional and powerful song about innocence and hope, finishing in third place. This success continued with William Mangion and This Time in 1993, a reflective love ballad that placed eighth, and Chris & Moira in 1994 with More Than Love, a romantic orchestral piece that reached fifth place. In 1995, Mike Spiteri sang Keep Me in Mind, a heartfelt plea for lasting love, finishing tenth, while Miriam Christine followed in 1996 with In a Woman’s Heart, a song exploring emotional strength from a female perspective, also finishing tenth.   Malta’s consistency continued in 1997 when Debbie Scerri performed Let Me Fly, an uplifting song about freedom and aspiration, placing ninth. A defining moment came in 1998 when Chiara delivered The One That I Love, a dramatic and vocally demanding ballad that earned Malta another third-place finish and established her as one of the country’s most iconic Eurovision performers. The nineties were seen off by Believe ‘N Peace performed by Times Three placing fifteenth. The early 2000s maintained this momentum, with Claudette Pace performing Desire in 2000, a passionate song about longing that placed eighth, and Fabrizio Faniello in 2001 with Another Summer Night, an upbeat Mediterranean pop track that finished ninth. Ira Losco - 7th Wonder (Photo: Eurovisionary) Malta reached its peak in 2002 when Ira Losco performed 7th Wonder, a catchy and polished pop anthem about admiration and love. The song achieved second place, Malta’s best result to date, and became one of the country’s most celebrated Eurovision entries. In 2003 Lynn Chircop sang To Dream Again placing 25 th  while in 2004, Julie and Ludwig represented Malta with On Again... Off Again, a playful duet about a turbulent relationship, finishing twelfth. Another major highlight came in 2005 when Chiara returned with Angel, a powerful and emotional ballad that once again brought Malta to second place, reinforcing its reputation as a powerhouse of vocal performance.   The introduction of semi-finals in the mid-2000s marked a turning point. In 2006, Fabrizio Faniello returned with I Do, a mid-tempo love song that failed to resonate, finishing last in the final. Over the following years, Malta struggled to maintain its earlier success, often failing to qualify for the final. This happened seven times since after the 2006 edition. In 2007 Olivia Lewis sang Vertigo, while Morena sang Vodka in 2008, both failed to qualify. Nevertheless, there were notable moments, such as in 2009 when Chiara returned with What If We, a reflective ballad about regret and possibility, and in 2013 when Gianluca Bezzina charmed audiences with Tomorrow, a cheerful, ukulele-driven song about optimism that achieved eighth place. Prior to Gianluca’s appearance Malta’s paricipations were somewhat bittersweet with Thea Garrett’s My Dream and Glen Vella’ One Life both failing to qualify in 2010 and 2011 respectively. While Kurt Calleja placed twenty-first with the song This Is The night in 2012. In 2014 Firelight placed twenty third with Coming Home while the following year Malta again failed to qualify with Amber’s Warrior. In 2016, Ira Losco returned with Walk on Water, a modern and empowering pop ballad about resilience, finishing twelfth. Again Malta failed to qualify for the finals in two successive years, in 2017 with Breathlessly sung by Claudia Faniello and in 2018 with Christabelle’s Taboo. Destiny Chukunyere - Je Me Casse (Photo: TVM) In the modern era, Malta has experimented with contemporary styles in an effort to appeal to both juries and televoters. In 2019, Michela Pace performed Chameleon, a sleek pop song about identity and adaptability, finishing fourteenth. In 2020 the festival was cancelled making it the first and only edition in the contest's history to be cancelled, when it was called off on 18 March 2020 due to the COVID-19 pandemic. Malta was going to participate with All My Love sung by Destiny Chukunyere who returned with one of the strongest recent results when she delivered Je Me Casse in 2021, a bold and empowering track blending jazz and pop influences, which placed seventh. However, subsequent years proved challenging: Emma Muscat represented Malta in 2022 with I Am What I Am, a self-empowerment anthem that did not qualify, followed by The Busker in 2023 with Dance (Our Own Party), a funky and playful celebration of individuality that also failed to reach the final. In 2024, Sarah Bonnici performed Loop, a contemporary dance-pop track, but finished last in the semi-final.   Aidan Cassar - Bella (Photo: Eurovisionworld) Malta returned to the final in 2025 with Miriana Conte and her song Serving, a modern pop performance marked by strong staging and attitude, finishing seventeenth. In 2026, Aidan Cassar was selected with Bella, a contemporary entry blending Maltese musical identity with international pop sensibilities, continuing Malta’s ongoing effort to secure its first Eurovision victory.   Over more than five decades, Malta’s Eurovision journey has evolved significantly, moving from culturally rooted beginnings to internationally competitive productions. Its entries have often focused on strong vocals, emotional storytelling, and polished compositions. While the trophy has remained elusive, Malta’s consistent dedication to quality music and memorable performances has ensured its lasting place in the history of the Eurovision Song Contest.   History of Participation 1971 Joe Grech "Marija l-Maltija" 1972 Helen and Joseph "L-imħabba" 1975 Renato "Singing This Song" 1991 Paul Giordimaina & Georgina "Could It Be" 1992 Mary Spiteri "Little Child" 1993 William Mangion "This Time" 1994 Chris & Moira "More Than Love" 1995 Mike Spiteri "Keep Me in Mind" 1996 Miriam Christine "In a Woman's Heart" 1997 Debbie Scerri "Let Me Fly" 1998 Chiara "The One That I Love" 1999 Times Three "Believe 'n Peace" 2000 Claudette Pace "Desire" 2001 Fabrizio Faniello "Another Summer Night" 2002 Ira Losco "7th Wonder" 2003 Lynn Chircop "To Dream Again" 2004 Julie and Ludwig "On Again... Off Again" 2005 Chiara "Angel" 2006 Fabrizio Faniello "I Do" 2007 Olivia Lewis "Vertigo" 2008 Morena "Vodka" 2009 Chiara "What If We" 2010 Thea Garrett "My Dream" 2011 Glen Vella "One Life" 2012 Kurt Calleja "This Is the Night" 2013 Gianluca "Tomorrow" 2014 Firelight "Coming Home" 2015 Amber "Warrior" 2016 Ira Losco "Walk on Water" 2017 Claudia Faniello "Breathlessly" 2018 Christabelle "Taboo" 2019 Michela "Chameleon" 2020 Destiny "All of My Love" * 2021 Destiny "Je me casse" 2022 Emma Muscat "I Am What I Am" 2023 The Busker "Dance (Our Own Party)" 2024 Sarah Bonnici "Loop" 2025 Miriana Conte "Serving" 2026 Aidan "Bella" Contest cancelled *

Major Anthony Aquilina stands as one of the most influential figures in the history of Maltese band music. A gifted musician, composer, and bandmaster, his legacy continues to resonate not only across Malta but also within Maltese communities abroad. Major Aquilina in uniform. photo: M3P Early Life and Musical Beginnings Anthony Aquilina was born on 25 July 1906 in Ħaż-Żebbuġ. Although his given name was Pawlu, he became widely known as Anthony throughout his life. His musical journey began at a remarkably young age. In 1914, at just eight years old, he was encouraged to join the Soċjetà Filarmonika Banda San Filep in his hometown.   By 1916, he had already begun playing with the band, demonstrating early promise. At the age of twelve, Aquilina took a significant step forward by joining the army as a Boy Bandsman, a role he held for five years. This early exposure to military band discipline and structure laid the foundation for his future career. Studies and Military Career photo: Facebook Aquilina’s talents earned him the opportunity to further his studies in the United Kingdom. He attended the prestigious Royal Military School of Music at Kneller Hall in Twickenham, one of the foremost institutions for military music training. His dedication and skill culminated in an outstanding achievement: in 1931, he graduated as Senior Cadet, finishing first in his course.   Upon returning to Malta, Aquilina rejoined the Royal Malta Artillery (RMA), where he quickly rose through the ranks. He was appointed bandmaster and later became regimental bandmaster. In September 1940, he was commissioned as an officer, marking another milestone in his distinguished career. He served with the army until 1958, retiring with the rank of Major—a title by which he would be fondly remembered. Contribution to Broadcasting and Music Direction This is a photograph of Major Aquilina’s debut with the Duke of Connaught’s Own Band. The date was 6 January 1946, and the location was inside St Aloysius College in Birkirkara. Photo: Eric Busuttil After retiring from military service, Aquilina continued to shape Malta’s musical landscape. He joined Rediffusion (Malta) Ltd., the island’s leading broadcasting service at the time, where he served as Director of Music until 1972. In this role, he influenced public musical taste and helped promote Maltese band music to a wider audience. A Prolific Composer Photographed during a concert. photo M3P Known affectionately as “The Major,” Aquilina composed around 50 band marches, many of which remain staples of the Maltese festa tradition. His works are still widely performed today, both in Malta and in Maltese communities around the world.   His compositions are celebrated for their vibrancy, melodic strength, and suitability for festive occasions. Among his most popular marches are Aħna Tfal ta’ Ġejtu, Amos, Aswero, Balfrendosan, Benedict Silver Jubilee, Bozen, Ċieka u Ċelest, Come On Baldass, Come On The Stripes, Dur Tond Fred, Elena Elena, El Picador, Et Donnay, Fiorentina, Fiesta, Forward, Fonz u Peppina, Forza Ċensina, Forza Ċensu Tagħna, Ġianni Sfarfar, Guitarreros, Ix-Xiħ, Josephine, Dik, Dak u l-Oħra, Lilywhites, Melita, Mona, Ta’ Ġerrew, Viva ix-Xemx, Wenzinos, and Zorro.   In addition to marches, he was also commissioned to compose ten hymns for parish titular feasts, further cementing his role in Malta’s religious and cultural traditions. Associations and Legacy Beyond his military career, Aquilina maintained strong ties with several leading Maltese band clubs. He was closely associated with the Soċjetà Filarmonika King’s Own, the Duke of Connaught’s Own Band Club in Birkirkara, and the Soċjetà Mużikali Sant’ Antnin, also in Birkirkara, of which he was a founder and Honorary President. A Prolific Composer. photo Facebook His music reached an even wider audience through recordings. Some of his most popular works were released in three cassette collections, and later, due to popular demand, two more releases featuring a broader selection of his compositions were issued. Personal Life and Death In 1932, Anthony Aquilina married Catherine Ross, and the couple had one son. Despite his many professional commitments, he remained dedicated to his family life. In later years. photo Facebook Major Anthony Aquilina passed away on 21 September 1985. However, his music and influence endure, making him a central figure in the development of Maltese band culture.   Major Anthony Aquilina is rightly regarded as one of Malta’s most important composers of festa band marches. His work not only defined a genre but also became an integral part of Maltese identity and celebration. Decades after his passing, “The Major” continues to be celebrated through the enduring popularity of his music—a testament to his remarkable talent and lasting impact. _______________________________________________________________________________ Il-Maġġur Anthony Aquilina: Surmast tal-Marċi Maltin is a paperback book written by Victor Galea and published in 2008. Spanning 130 pages, the book explores the life and legacy of Major Anthony Aquilina, highlighting his important role as a leading composer and bandmaster of Maltese marches.

Different Light Announce New Album Release: Binary Suns - Part 2 (Alternate Reality) Different Light are pleased to announce the upcoming release of their new album, Binary Suns - Part 2 (Alternate Reality) , set to launch on April 24, 2026. The album will be available on CD and across all major streaming platforms. album artwork Serving as the highly anticipated follow-up to Binary Suns - Part 1 , the new release continues the band’s exploration of expansive progressive rock soundscapes. Fans can purchase the CD via www.shadedmoon.nl , while digital downloads will be available on www.bandcamp.com . For bundled purchases including previous Different Light releases, visit www.differentlight.cz . Binary Suns - Part 2 (Alternate Reality)  delivers a powerful blend of progressive and classic rock, enriched with touches of melodic pop. The album features predominantly multi-part compositions, combining intricate musicianship with introspective and evocative lyrics. Together, these elements create a dynamic, immersive listening experience—an hour-long journey through progressive rock at its most expressive. For more information please visit: www.differentlight.cz www.shadedmoon.nl www.facebook.com/differentlightsound www.bandcamp.com  (search “Different Light”) Media Contact: differentlightsound@gmail.com

A remarkable piece of Maltese musical history is finally coming to light with the upcoming release of Death From Malta , a long-lost recording by early 1970s underground band Evil Grave. Issued by Rise Above Relics and set for release on April 24th, this limited vinyl pressing (300 black copies with insert) marks the first official release of the band’s material—nearly half a century after their brief but intriguing existence. photo: John E. Zammit-Pace Evil Grave were formed in December 1971, emerging from the fusion of two young local acts, The Stampede and The Beatmoors. At a time when heavy music was still in its infancy globally, the band independently explored a similarly dark and experimental sound on the island of Malta. Their very name reflected this influence, combining references to Black Sabbath’s “Evil Woman” and “Children of the Grave,” while also signaling their intent: to confront corruption and societal darkness through music and imagery. The original lineup featured John E. Zammit-Pace (guitar, vocals), Twanny Darmanin (bass, vocals), Clive Simpson (keyboards, vocals), and Mario Barbara (drums), later replaced by Martin Buhagiar. Despite their youth, the band quickly developed a distinctive identity rooted in hard rock, avant-garde experimentation, and artistic influences ranging from surrealism to early electronic composition. Their music incorporated chromaticism, atonality, and unconventional structures—making them pioneers within the Maltese scene. Evil Grave circa 1973 at the former Radio City - Hamrun. photo: John E. Zammit-Pace Within just a month of forming, Evil Grave secured a residency at the enigmatic Pharaoh’s Den nightclub, where they honed their live sound. They later rehearsed and performed at the Palm Beach Club, building a reputation strong enough for a local newspaper to describe them as the best band in Malta following a marathon concert event in 1972. Opportunities followed, including a proposed Scandinavian tour, but setbacks—including a collapsed deal and a rejected television appearance—ultimately led to the band’s dissolution. What remains today is a fascinating snapshot of a band far ahead of its time. Death From Malta compiles all surviving recordings, primarily captured in a single one-hour session at Rediffusion studios in March 1973. These recordings were made live, without overdubs, preserving the raw immediacy of their performances. Additional material, including the expansive 15-minute track “Machinery,” was recorded later in 1977. album artwork: photo Rise Above Records The album’s tracklist is as follows: Machinery Optica Screaming Streaks Of Light Jam Session Satan’s Death The revival of Evil Grave can be traced back to Lee Dorrian, who first came across the band while on holiday in Malta, recalling how he “discovered the almost mythical ‘Evil Grave’” after asking about obscure local acts from the late 60s and early 70s. His curiosity set in motion a deeper exploration into the island’s forgotten underground scene. As outlined by Noel Mifsud in the album’s liner notes, interest in the group had been quietly building for years—he himself first heard of them “around ten years ago” and later found rare recordings online before discussing Malta’s early bands with Dorrian during a visit. Through the combined efforts of Dorrian, Mifsud, and guitarist John E. Zammit-Pace, these long-lost recordings have now been restored and introduced to a global audience for the very first time. More than just a release, Death From Malta  is an archival resurrection—an important reminder of a forgotten chapter in Malta’s cultural and musical heritage. With its blend of proto-heavy metal, progressive experimentation, and avant-garde ambition, Evil Grave’s music stands as both a historical curiosity and a genuinely compelling listen. For collectors, historians, and fans of early underground rock, this release offers a rare opportunity to hear what was once nearly lost to time. Evil Grave 1972-73. photo: John E. Zammit-Pace Death From Malta can be ordered here

Hi there, I have not written here in a while, mainly because I have been busy working on new material and dealing with the logistics of new projects that have been taking a lot of my time and energy. I did not expect my return to this newsletter to be for this reason. Two days ago, we lost Aurelio Belli , a legend in Maltese music, a gentleman, and someone I had the privilege of working with. His passing has affected me in a way I did not expect, and I felt I could not simply let this moment pass without saying a few words. Aurelio was one of those rare people whose presence carried both authority and warmth. He was deeply respected in the musical world, not only for his talent and professionalism, but also for the way he treated people. He brought seriousness to the work, but never without humanity. In an industry that can sometimes be stressful and demanding, that combination is not something you forget. Many tributes this week shall remember him as a conductor, educator, and a key figure in the Malta Philharmonic Orchestra, as well as in important Maltese productions and events over the years. For me personally, this is not just the loss of a respected musician. It is the loss of someone I knew, worked with, and admired. And that is always felt differently. There are people in music who leave behind performances. Then there are people who leave behind a mark on the people around them. Aurelio was one of those. He will be remembered not only for what he did, but for how he did it. My thoughts are with his family, his friends, and all those in the music community who are feeling this loss today. Rest in peace, Aurelio. Thank you for your music, your work, your dignity, and your kindness. Simon

The Maltese cultural scene has lost one of its most dedicated and versatile figures with the passing of Aurelio Belli, who died at the age of 49. A respected musician, educator, and arts administrator, Belli’s contribution to Malta’s musical life extended far beyond the stage, shaping institutions and influencing generations of performers. photo: Malta Philharmonic Orchestra Born in Ħamrun on 25 October 1976, Belli showed an early affinity for music, beginning his journey by learning the euphonium under the guidance of his grandfather.  His passion for music expanded quickly as he went on to study multiple instruments, including the trombone and double bass, and deepen his knowledge of music theory through various teachers and international masterclasses. Throughout his life, Belli remained deeply rooted in Malta’s band culture. He performed with ensembles such as Versatile Brass and Fusion Brass Sextet, while also dedicating significant time to teaching brass instruments and mentoring young musicians.  His commitment to education and community music-making was further reflected in his role as conductor and musical director of the Duke of Connaught’s Own Band Club in Birkirkara, where he helped nurture local talent and sustain Malta’s rich band tradition. Belli’s career evolved to encompass major national productions and institutional leadership. He played a key role in large-scale events such as Rockestra, Mużika Mużika, and the Malta International Song Contest, contributing both as a musician and conductor.  His organisational skills and vision led him to a prominent position within the Malta Philharmonic Orchestra, where he served as Head of Operations. In this capacity, he was instrumental in coordinating performances and strengthening the orchestra’s role within Malta’s cultural landscape. Colleagues often described him as a driving force behind the orchestra’s continued development, someone who combined artistic sensitivity with administrative precision. His earlier involvement with the MPO as a performer and arranger reflected a lifelong relationship with the institution he later helped lead. Despite his professional commitments, Belli faced a long and difficult personal battle with cancer, first diagnosed in 2020.  He approached his illness with remarkable openness and courage, even speaking publicly about his experience to raise awareness and support others. In a particularly poignant moment, he revealed that he had been diagnosed with another form of cancer on the final day of his radiotherapy treatment, yet remained determined to continue living life fully. News of his death prompted an outpouring of tributes across Malta, especially on social media. Friends, colleagues, and members of the artistic community remembered him not only for his professional achievements but also for his humanity. Many described him as “a pillar of the Maltese musical landscape” and praised his generosity, positivity, and unwavering support for others. Public figures also paid tribute, with Robert Abela describing Belli as “the definition of courage and resilience,” highlighting how he continued to inspire others through his music even during his illness.  Fellow musicians echoed these sentiments, recalling a man who worked tirelessly behind the scenes to ensure others could shine. As Malta mourns his passing, Aurelio Belli is remembered not only for his accomplishments but for the spirit in which he carried them out. His life’s work—spanning performance, education, and cultural leadership—leaves a lasting imprint on the nation’s musical heritage. The team at melodija.eu extends its heartfelt condolences to the family, friends, and colleagues of Aurelio Belli during this difficult time.

Skald will host the second event in their exclusive three-part intimate gathering series at Casa Gourgion, a historic residence located in Mdina Cathedral Square, on Saturday 16 May. The event promises a unique blend of music, heritage, and audience interaction, offering attendees a rare glimpse into the band’s evolving creative process. Set within the atmospheric surroundings of Mdina—often referred to as the “Silent City”—the evening invites guests to take a leisurely stroll through the historic streets before entering Casa Gourgion for a curated cultural experience. Attendees will have the opportunity to tour the historic house before enjoying a live musical performance accompanied by a complimentary drink. Casa Gourgion - A Nobleman's Home During the session, Skald will perform selections from both their debut and sophomore albums, while also introducing early draft material from their upcoming third album, which is slated for release by the end of next year. “This gathering could be a good time where those attending can give feedback to help shape this next chapter in this journey,” the band shared, emphasizing the collaborative nature of the event and their openness to audience input. The evening will be divided into two limited-capacity sessions: First session: Doors: 5:00 PM, Concert: 5:30 PM Second session: Doors: 6:30 PM, Concert: 7:00 PM Each session is restricted to just 20 attendees, ensuring an intimate and immersive experience. Due to the historic nature of the venue, guests should be aware that stairs and walking are part of the experience. Children under the age of six are not permitted. Tickets can be purchased online, and early booking is strongly encouraged given the limited availability. This event is supported by Farsons Classic Brews, Il-Kamra ta' Fuq, New Life Bar Mqabba, Transient, Art Sweven, and XIL Ltd. TICKETS

Maltese Artist Myles Releases “Kif Xbajt f’Malta” A Raw Anthem of Everyday Island Frustration “Kif Xbajt f’Malta” artwork Rising Maltese artist Myles has officially released his latest track, “Kif Xbajt f’Malta,”  a blunt and relatable portrayal of daily life on the island. Stripping away filters and pretence, the song captures the small but persistent frustrations that have become part of the local routine. From a peaceful morning shattered by relentless construction noise to traffic congestion that turns a short drive into an hour-long ordeal, “Kif Xbajt f’Malta”  is built on vivid, real-life moments. Driven by a repetitive, chant-like hook, the track transforms everyday irritation into something collective — a shared voice for anyone who’s felt the same. There’s no attempt to romanticize or soften the message. The song is direct, honest, and instantly recognizable to listeners who’ve experienced the constant backdrop of drilling, roadworks, and gridlock that define modern Maltese life. Simple, raw, and unapologetically real, this release cements Myles as an artist unafraid to say what many are already thinking — but few are expressing out loud. “Kif Xbajt f’Malta” is out now on all major streaming platforms.

DARK MALTA FESTIVAL  is back…. louder, darker, and bigger than ever for its seventh unmissable edition . Prepare for three intense, adrenaline-charged days  of gothic, industrial, and metal, taking over the Gianpula Main Room, Żebbuġ, Malta , from 17th to 19th April 2026 . With 24 bands from 12 countries , Dark Malta Festival is an international meeting point for the global dark scene. But this festival is more than just music, it’s a powerful gathering of like-minded souls , united without prejudice to celebrate passion, freedom, and community. And as if the music wasn’t enough, the legendary Rooftop Pool Party  makes its triumphant return on Saturday and Sunday, from noon till 6pm  (weather permitting). The decks will be ignited by a lineup of several international DJ’s. Dive deeper into the scene at the Alternative Market  to discover unique creations offered at the stalls. Band merchandise will also be available throughout the event, and no true fan should leave without official Dark Malta Festival merchandise . An exceptional roster of DJs will maintain the momentum between performances by the bands. As if that weren’t enough…………. As from this edition, Dark Malta Festival 2026 will add two extra nights. On Thursday, 16th April 2026 , there will be a Pre Party at The Vault at Gianpula, a natural cave beneath the main area that promises an atmospheric start to the festival. Then, on Monday, 20th April 2026 , we'll head out to sea for an After Party aboard the Fernandes  II galley, taking on the role of Maltese pirates as we celebrate along the coast. Friday, April 17 th Sad Madona And what a better way to open up the first day of Dark Malta Festival 2026 than with Sad Madona. Rémi Lauvergne will create the right melancholic atmosphere by blending elements of gothic, techno, and shoegaze.  Make sure to make it early so not to miss out on one of the finest electro/synth projects around.    ERATO For more than 30 years, since 1993, the band from Brussels has built up a reputation as one of  Belgium's best Goth Rock/Dark Wave acts. Despite quite some changes in the line-up, Erato could always count on a large fanbase. With A Killed God , The Irreplaceable One , Erato - III  and NAiVe  they conquered the hearts of many dark oriented music lovers. It's however with their strong live performances, that they kept convincing friends and foes. It was no coincidence that they have shared a stage with other legends as Skeletal Family, Inkubus Sukkubus, Ikon, Faith and the Muse, The Sisters of Mercy, and many others.    JE T’AIME French cold-wave trio JE T'AIME incorporate themes of existentialism and melancholy into their music, drawing inspiration from 1980s influences while introducing contemporary elements. Their latest album, Useless Boy , released in January 2025, presents a reflective exploration of unfulfilled aspirations and societal barriers, balanced by motifs of resilience and the transformative potential of music.  This post-punk band is formed by Daniel Armand, Zoe Hr, and Baptiste Bertrand.   Principe Valiente Principe Valiente, a Swedish band formed in 2007, blends post-punk minimalism with shoegaze and is often described as dark pop. The lineup includes Fernando Honorato (vocals, bass), Jimmy Ottosson (guitar), Rebecka Johansson (keyboards), and Joakim Janthe (drums).   Darkways Darkways is a darkwave band from Barcelona (Spain), which has many rock and metal influences, but with an interest in delving into the sounds of post-punk and the synthesizer era. This is reflected in their first LP Resonance , where the band explores the dark sounds of synthesizers and guitars, with delays and reverbs typical of the 80s.   Dark Dark, the German darkwave/goth/post-punk band, returns to the Dark Malta Festival after their 2023 appearance. Expect performances of tracks like Skeleton Dance, Desire, In the Shadows,  and Lovers in the Dark . Then Comes Silence Gaining inspiration from spiritism and horror, Then Comes Silence are a gothic rock/post-punk band.  Hailing from Sweden, they have been a constant presence in the scene since their formation in 2012.  So far they have released seven studio albums, the most recent being Trickery  (2024). The   69 Eyes Friday’s headliners require no introduction.  The 69 Eyes are a Finnish rock band formed in Helsinki in 1989 by vocalist Jyrki 69, guitarists Bazie and Timo-Timo, and bassist Archzie. In 1992, drummer Jussi 69 joined the group, establishing a lineup that has remained unchanged since. The band's music combines elements of gothic rock, glam metal, and rock 'n' roll, resulting in a style known as "goth 'n roll."  With too many good songs to choose from, we are more than sure that they will turn this into an experience we will all remember. Saturday, April 18 th Dolls for Idols Formed in Malta in 2009, Dolls for Idols quickly stood out for their electronic synth-punk sound. Their debut album, Cut, Paste & Rave’n’Roll  (2011), expanded their reach across Europe, leading to performances with notable acts like The Hives and Django Django. After a decade-long hiatus, the band made a comeback to the scene with their infectious energy. Beyond Border Hailing from Germany, Beyond Border converge Future Pop, Synth Pop and Dark Wave to create their unique style.  Get ready to be immersed in beats, synths, and melodies crafting an electrifying auditory experience. Their music transcends boundaries, guiding you through innovation, emotion, and limitless soundscapes.   H.EXE Described as a harsh electro/aggrotech band, Polish band H.EXE started out in 2010 as a one-man project by Odo (vocals), soon after he was joined by Rex Rotten (keyboards, drums, programming).  Their first calling card was an EP entitled Realms of Inhuman Pleasures (2010), followed by another EP Venom  (2010).  In Spring 2011 H.EXE issued their first LP Killing Monsters  and a year after they were joined by Luké (guitars).  With time there were other line up changes and the current line-up is as follows:  Odo (vocals), Einar (keyboards / electronics), Ad-X (music) and Luké (guitars).  Make sure to watch them as they unleash hell on the stage. Alienare The German synthpop/future pop band, started off in 2014 as a solo project of singer T. Green, after he left Sky Turned Dark  to follow a solo carrier.  The project was an immediate success and Alienare payed several shows supporting bands such as Ost+Front, Lost Arena, Tyske Ludder and Welle Erdball.  Since 2016, T. Green has been accompanied by T. Imo (keyboard) as a permanent band member.  T. Drmx was enrolled at a later stage on electronic drums.   Leæther Strip The brainchild of Claus Larsen, Leæther Strip came into existence in 1988 and was one of the most prominent acts on Germany’s now defunct Zoth Ommog record label.  The band is influential in the electronic body music and electro-industrial genres.   Leæther Strip do not shy away from direct and political messages, with songs such as AEighty AEight  (an anti-Nazi song) and Suicide Bombers , to name a couple.  Time to turn up the heat.    [:SiTD:] Founded in 1996 by Carsten Jacek and Thorsten Lau, [:SiTD:] – Shadows in the Dark, are a leading EBM and Industrial band hailing from Germany.  The band has been through several lineup changes, with the present formation consisting of Carsten Jacek and Francesco D’Angelo.    Lights of Euphoria Lights of Euphoria are futurepop/electro music project from Germany, established by Torben Schmidt. Initially conceived as a one-song project, the group's continued collaboration followed the release of their first track, Subjection. The band has been active since the early 1990s.  With more than eleven albums released rest assured that they can spin enough hits to make you dance the night away.  Nitzer Ebb Saturday’s co-headliners, Nitzer Ebb, was formed in Chelmsford, UK by Douglas McCarthy (vocals) and Bon Harris (drums, programming) when they were 15 years old. The group was active in the electronic music and Balearic beat scenes during the 1980s and 90s. Their style has been described as electro-punk, preceding the development of the genre. Nitzer Ebb released five albums on the Mute label and had several songs that gained popularity in clubs.   Get ready to dance the night away.  Sunday, April 19 th Kordin Hill N’ The Pressed Pills One of Malta’s freshest bands in the local punk / post punk scene, Kodin Hill N' The Pressed Pills will kick off Sunday with a live show full of raw energy.   Apart from hitting Malta by storm, the band has performed in Italy and are looking forward to tour the UK.  Get ready to mosh as the chaos ensues.  Sunday will open with a bang!    Klutæ Apart from Leæther Strip, Claus Larsen will be performing with his industrial music project Klutæ.  Larsen describes this project as “loud and fun”.  Klutæ will be delivering tracks from their 2025 album “Godsent” and other popular tracks from previous releases.   Hell Boulevard Hell Boulevard performs dark gothic rock characterised by distinct, slightly raspy vocals. Their music blends hard rock with quieter piano passages and incorporates electronic elements. Founded in 2014 by Italian musician Matteo vDiva Fabbiani, Hell Boulevard originated from the dissolution of Lost Area, whose members included Fabbiani and guitarist Von Marengo. The lineup was subsequently joined by Dee Dammers (formerly of The Treatment) on bass and A.ve on drums. Extize Extize is a Franco-German gothic electronic band based in Heidelberg, Germany. The band was featured in a cover story in Orkus magazine, which increased its visibility within Germany's Cybergoth community.  This will be one of the most energetic bands at Dark Malta Festival 2026. Ductape Birthed from the underground music scene of bustling Istanbul, Ductape carries the torch of the seminal post-punk revolution. But they aren't just echoing their predecessors; they are pushing the genre into unexplored territories.  Come and see for yourself.   God  Module Formed back in 1999, Tod Module will be travelling all the way from the U.S.A. to entertain the crowd at Dark Malta Festival 2026.  Their name was inspired from an episode of The X-Files, that dramatized a theory about a part of the human brain rumored to be responsible for mankind’s belief in religion and the concept of God.  They deliver some wicked electro-industrial/EBM music.  Current line up consists of Jasyn Bangert (lead vocals, programming), Andrew Pearson (keyboards, backing vocals) and Jarvis Chris (percussion). Das Ich This dark wave/gothic-industrial band formed in 1989 and formed part of the New German Death Art musical movement, back in the early 1990’s.  The front persons Stefan Ackermann and Bruno Kramm were founders and very active in this movement.  Prepare yourself for their onstage antics, as they bombard your ears with gothic-industrial style music.  If you don’t understand German, this is the time to get a dictionary.  Prepare to be entertained.  Das Ich will be co-headlining on Sunday.  Panzer AG The 2026 edition will come to a close with the Sunday headliners, Panzer AG.  The aggrotech/industrial rock project needs no introduction.  This is a side project by Andy LaPlegua, founder of the iconic futerpop band Icon of Coil.  Since 2024, Panzer AG have entertained crowds with their sound influenced power noise, trance, industrial, rock and other genres that make your body move.  This will be their penultimate gig in Europe. This festival is supported by Rock ‘n Malta and Festivals Malta.  For tickets and more information visit the official website https://darkmaltafestival.com/  or follow us on social media.