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

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

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

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

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

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

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

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

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

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

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

Part II – The City as Collaborator The practical dimension of Sonic Drift unfolded through a series of collective dérives conducted across various Maltese urban environments between late 2025 and early 2026. Led by sound artists Kurt Buttigieg and Jamie Barbara, participants traversed areas including Marsa, Floriana, Paola, and Fgura, engaging in exploratory listening sessions lasting several hours. derive 1 These dérives were not guided tours. They were exercises in attention. Participants moved through urban environments equipped with recording devices but without predetermined expectations regarding what they might discover. The aim was not to document specific sounds but to cultivate sensitivity toward the sonic character of place. Throughout the project, listening became an active and embodied practice. Participants encountered environments often dismissed as mundane or unremarkable and discovered rich layers of acoustic complexity. Mechanical vibrations resonated through industrial structures. Wind interacted with abandoned surfaces. Echoes revealed hidden spatial dimensions. Rhythms emerged from ordinary urban processes. Listening together transforms familiar urban spaces into sites of discovery, memory, and collective engagement. The resulting recordings formed the basis for experimental sound compositions that transformed these sonic encounters into what the publication describes as “auditory maps.” Unlike traditional maps, which privilege visual orientation and spatial precision, auditory maps capture atmosphere, memory, emotion, and sensory experience. They document how environments feel as much as how they sound. The collaborative nature of the project was equally significant. Artists and community participants contributed not only recordings but also interpretations of what they heard. Listening sessions and discussions created opportunities for participants to reflect collectively on their experiences and share diverse perspectives on the same environment. This process challenged traditional notions of artistic authorship. Rather than positioning artists as sole creators, Sonic Drift embraced co-creation. The sounds belonged to the city, but their meanings emerged through dialogue between participants, environments, and artistic interpretation. The culmination of Sonic Drift: an immersive sound performance shaped by movement, memory, and shared sonic exploration. The project culminated in a public performance that translated these sonic explorations into an immersive listening experience. Audiences encountered layers of recorded sound shaped by movement, memory, and collective experience, inviting them to engage with urban environments not as spectators but as listeners. In doing so, the project demonstrated that sound art can function simultaneously as artistic expression, social engagement, and research practice. Part One of Sonic Drift: Listening Beyond the Visible City can be accessed here: [link to Part One]. Having explored the project's dérives, collective listening practices, and sonic encounters in Part Two, the final instalment will turn its attention to the research findings and broader implications of listening as a tool for understanding urban life. Stay tuned for Part Three, where the project’s discoveries concerning sound, memory, participation, and post-industrial urban environments are brought into focus, revealing what emerges when we learn to listen beyond the visible city. Sonic Drift: Listening Beyond the Visible City / Part I – Drifting Through Sound: Reimagining Urban Experience

Ċama Ċama calls SCJ Children’s Choir Schola Cantorum Jubilate is proud to present Ċama Ċama, the annual end-of-year concert by SCJ Children’s Choir. This concert promises a fresh and innovative format. Unlike previous editions, the concert will be directed by internationally acclaimed Finnish conductor Sanna Valvanne following an intensive two-day Singing Camp with the choir. The title Ċama Ċama is inspired by a traditional Maltese game often played on rocky beaches, where participants call out names before diving into the sea. The game evokes a spirit of adventure, courage and joyful discovery – the qualities that are at the heart of this year’s musical journey. Sanna Valvanne is an innovative conductor, versatile performer, singer-songwriter and educator from Finland. Renowned worldwide for her creative and holistic choral approach, she has developed a unique method that combines vocal expression with movement and drama, encouraging singers to make music with both body and soul. Valvanne is a sought-after clinician, guest conductor and performer who has collaborated with choirs across the globe. In addition to her work in choral music, she is also an accomplished actor and performer. Finnish audiences first came to know her through her leading role in the popular children’s television programme Kimsu ja Kampsu, broadcast by YLE, Finland’s national public broadcasting company. For the young choristers at SCJ, this collaboration represents a valuable opportunity to explore new artistic horizons. The Singing Camp and concert experience will complement and enrich the musical training they receive through the choir’s regular weekly sessions under the direction of Marouska Attard. This progressive training nurtures both their musical development and personal growth, encouraging confidence, creativity and artistic expression. Promising a vibrant and engaging atmosphere, Ċama Ċama will offer audiences a concert experience unlike any other. Through the creative partnership between Sanna Valvanne and SCJ, attendees can expect an inspiring celebration of music, movement and youthful energy. The concert will be held on Sunday 12th July at 7.30pm at Palazzo Palina, Ta’ Ċenċ Hotel, Sannat. Admission is free of charge; however, advance booking is required. Guests wishing to extend the evening can attend for an after-concert buffet dinner at Ta’ Ċenċ Hotel for €39 per adult and €21 per child. Ċama Ċama calls you for another remarkable concert that will undoubtedly awaken the musical soul within you. This production is supported by the Minsitry for Gozo and Ta’ Ċenċ Hotel & Spa.

The Malta Jazz Festival 2026 is set to return to Valletta between 6 and 11 July, reaffirming its position as one of the Mediterranean’s most significant jazz gatherings. The festival will once again centre its programme around the historic Ta’ Liesse waterfront overlooking the Grand Harbour, while also expanding performances to other key cultural venues in the capital, including the Malta International Contemporary Art Space (MICAS) and the Valletta Campus Theatre. This multi-venue approach continues to reflect the festival’s intention to merge contemporary jazz performance with Malta’s distinctive architectural and cultural landscape. Under the artistic direction of Sandro Zerafa, the festival maintains a clear focus on contemporary jazz and creative expression, prioritising artistic exploration and innovation over commercial trends. This curatorial vision has helped establish the Malta Jazz Festival as a respected platform within the international jazz circuit, consistently attracting musicians who work at the forefront of modern improvisational and compositional practices. The 2026 programme brings together a diverse selection of international and local artists. Among the most anticipated performances is Brazilian jazz guitarist Toninho Horta, who will appear with a quartet featuring Seamus Blake, Mathias Allamane, and Jeff Ballard, presenting a collaboration that unites influential figures from across generations of jazz. Another major highlight is Ghost-Note, the high-energy funk and jazz collective founded by Robert Searight and Nate Werth, known for their rhythmically complex and electrifying live shows. American pianist Aaron Parks is also featured, bringing his distinctive approach that blends lyricism with modern harmonic textures. The festival further showcases European innovation through French drummer and composer Guilhem Flouzat with his project Bottommost, alongside Maltese bassist and composer Pete Galea with his ĦOSS Project, reflecting the growing international presence of Maltese jazz musicians. Guitarist Kurt Rosenwinkel is listed among the festival’s major names, contributing to a programme that continues to emphasise artistic depth and contemporary relevance. According to the official programme, additional highlights include performances such as the Dominic Galea Quartet opening night tribute at Valletta Campus Theatre, featuring Maltese jazz composers, which anchors the festival in the local jazz tradition while connecting it to its international scope. The programme also includes family-oriented performances that introduce younger audiences to jazz through interactive and educational formats. The Malta Jazz Festival 2026 continues its tradition of combining world-class international performers with a strong representation of local talent, set against one of Europe’s most atmospheric waterfront stages. With further announcements expected in the lead-up to the event, the festival is positioned to continue its legacy as a key meeting point for contemporary jazz in the region. Tickets and official programme updates are available through the Festival Malta website at https://www.festivals.mt/mjf

Devil's Breath Contributes One of Its Harshest Works to Noctivagant's 15th Anniversary Compilation "They Were Deceived And Condemned Us Eternally" featured on Quindecennial, celebrating 15 years of Noctivagant Devil's Breath is proud to announce its participation in Quindecennial, the monumental anniversary compilation released by Noctivagant to commemorate 15 years of dedication to underground and experimental music. The compilation brings together 108 artists from across the globe, highlighting the breadth and diversity of the label's enduring vision. Representing Devil's Breath on the release is the track "They Were Deceived And Condemned Us Eternally", a composition that stands among the most uncompromising and extreme works the project has produced throughout its 11-year existence. Addressing themes of historical manipulation and collective consequence, the track explores the dangers of distorted narratives and manufactured truths. As the band explains: "When the past is intentionally buried or thwarted, the future is trapped in a lie. 'They Were Deceived And Condemned Us Eternally' is about how a manufactured history has locked us all into a reality that never should have existed." Musically, the piece draws influence from ritual music, power electronics, and noise, resulting in a relentless sonic assault that pushes Devil's Breath's sound into even harsher territory. The inclusion of the track on Quindecennial marks a significant moment for the project, joining 107 other acts in celebrating a label that has spent the past decade and a half championing challenging, innovative, and boundary-defying music. "Noctivagant has just celebrated its 15 years of existence and invited us, Devil's Breath, together with another 107 acts, to celebrate this monumental moment for the label that has long dedicated itself to releasing great music." Quindecennial is available now through Noctivagant's Bandcamp page. For more information and to listen to the compilation, visit Noctivagant Collective's Bandcamp. About Devil's Breath Formed 11 years ago, Devil's Breath has continuously explored the darker edges of ritualistic, experimental, and noise-based sound. Through uncompromising compositions and immersive sonic landscapes, the project remains dedicated to challenging perceptions and confronting hidden realities.

Part I – Drifting Through Sound: Reimagining Urban Experience Cities are often understood through what can be seen. Architecture, infrastructure, skylines, public spaces, and visual landmarks dominate how urban environments are represented and experienced. Yet every city possesses another layer of identity that is far less visible but equally influential: its soundscape. front cover of the documentation of Sonic Drift From the persistent hum of traffic and the rhythm of construction machinery to distant conversations, birdsong, mechanical echoes, and fleeting sonic events, urban life unfolds through a complex network of sounds that shape how people perceive, remember, and inhabit place. It is within this often-overlooked dimension of urban experience that Sonic Drift: Urban Soundscapes and Co-created Performances situates itself. The project emerged from an interest in understanding how listening might transform relationships between people and their environments. Rather than approaching sound merely as artistic material, Sonic Drift treats listening as a mode of inquiry—a way of exploring the city that reveals social, emotional, and cultural dimensions often hidden beneath everyday routines. Central to the project is the concept of the dérive, a method of exploratory wandering developed by the Situationist International during the mid-twentieth century. The publication describes the dérive as a process that “invites participants to drift through the city guided by affective responses, chance encounters, and environmental cues rather than fixed routes, destinations, or functional objectives.” This methodology represented a radical departure from conventional ways of moving through urban space. Rather than navigating according to efficiency or purpose, participants surrender themselves to the atmosphere of the city, allowing sounds, encounters, textures, and emotions to shape their trajectory. Situationist International 1957 The theoretical roots of this approach can be traced to the Situationist International, an avant-garde collective active between 1957 and 1972. Reacting against the increasing commodification of everyday life, the Situationists sought ways to challenge passive consumption and re-engage individuals with their immediate environments. Through practices such as psychogeography and the dérive, they explored how urban spaces influence behaviour, emotion, and social interaction. More than half a century later, Sonic Drift reinterprets these ideas through contemporary sound art. Instead of mapping streets and buildings, the project maps rhythms, resonances, interruptions, and atmospheres. It asks a deceptively simple question: what happens when listening becomes the primary means through which we experience the city? Participants engage in collective listening during a Sonic Drift dérive, exploring the city as an acoustic environment where sound becomes a medium for participation, reflection, and shared experience. The answer lies not only in the sounds themselves but in the act of listening collectively. By foregrounding sonic experience, participants are encouraged to encounter familiar places anew. Streets become acoustic corridors. Abandoned structures become resonant chambers. Industrial zones become sites of memory and reflection. The city itself becomes both material and collaborator. As the publication notes, “Sound, unbound by linguistic or material constraints, functions as a democratic medium through which diverse participants can engage with their environments.” In this sense, listening becomes more than observation. It becomes participation. This first instalment of Sonic Drift: Listening Beyond the Visible City has explored the project's conceptual foundations and its reimagining of urban space through collective listening. In Part Two, we follow the dérives themselves—tracing the routes, encounters, and sonic discoveries that transformed familiar Maltese landscapes into sites of reflection, memory, and artistic experimentation. Stay tuned as the journey continues beyond the visible city and deeper into its hidden acoustic worlds.

Beangrowers Release New Album "128K" Beangrowers, the Maltese indie rock trio, have released their new album 128K, out now digitally on all major platforms. 128K pairs freshly remastered tracks from the band's Dystopia EP with newly recorded songs from January 2026, joining an earlier reflection on Malta's rapid development with a new chapter in the band's songwriting. Formed in the late 1990s, Beangrowers — Alison Galea (vocals, guitar, keys), Mark Sansone (bass, synths), and Ian Schranz (drums, electronics, vocals) — have spent over two decades blending pop hooks with noise and melancholy, earning comparisons to Pixies, Joy Division, and Sonic Youth. Signed early on to Rough Trade Germany and later Minty Fresh (US) the band has toured Europe and the US, including a notable run at South by Southwest Festival in Texas (SXSW), all while remaining rooted in Malta and frequently using their music to reflect on the island's changing landscape. A vinyl edition of the full-length album is in the works and will be available very soon, with further details to follow. For more inquiries, contact the band at beangrowers@gmail.com

Tigné Barracks Musicians Movement Celebrates 45 Years with Special Reunion Concert. Sliema, Malta – August 2026 – The Tigné Barracks Musicians Movement is proud to announce “Tigné Barracks, The Concert”, a special event commemorating the 45th Anniversary of the Tigné Barracks Musicians Movement, taking place on Saturday, 8th August 2026, at the historic Tigné Barracks area, Tigné Point. The free community event will run from 6:00 PM until midnight and promises an unforgettable evening of live music, nostalgia, and celebration, bringing together former members of the movement, residents of the barracks, music lovers, and all those who cherish the rich history of this unique cultural landmark. Forty-five years after it all began, the event will celebrate the music, friendships, creativity, and memories that made Tigné Barracks a vibrant hub for generations of musicians and artists. Attendees will have the opportunity to reconnect with old friends, relive treasured moments, and experience the enduring spirit that continues to inspire the community today. “Where memories were made, music still lives on” serves as the theme of this anniversary celebration, reflecting the lasting legacy of the movement and its contribution to Malta’s musical and cultural landscape. The organisers extend an open invitation to everyone, whether they were directly involved in the movement, lived at the barracks, or simply wish to be part of this historic occasion. Event Details Event: Tigné Barracks, The Concert Occasion: 45th Anniversary of the Tigné Barracks Musicians Movement Date: Saturday, 8th August 2026 Time: 18:00 – 24:00 Venue: Tigné Barracks Area, Tigné Point, Sliema Admission: Free Entrance The event is proudly sponsored by the Sliema Local Council and Minn Pjazza Għal Pjazza. Everyone is welcome. The organisers encourage the public to attend and share the event with family and friends as the community comes together to celebrate a remarkable chapter in Malta’s musical history.

Folk Underground Brings Malta's Living Folk Heritage Beneath Valletta Beneath the streets of Valletta, within the historic stone vaults of Sala San Duminku, Folk Underground invites audiences into the world of għana, Malta's distinctive tradition of folk song, storytelling, and acoustic guitar. Performed by celebrated folk masters alongside a new generation of musicians, these weekly intimate acoustic evenings offer a rare opportunity to experience a living cultural tradition beyond its usual village and community settings. Songs of love, loss, humour, resistance, and everyday life unfold through powerful voices, intricate guitar playing, and centuries-old oral traditions. Far from being a relic of the past, għana remains a vibrant and evolving art form that continues to inspire contemporary performers and audiences alike. Folk Underground presents Malta's musical heritage where it belongs: live, shared, and deeply connected to the people who continue to carry it forward. Visit: folkunderground.com for more information. With thanks to our partners MeDirect Bank Malta | Visit Malta | Magna Żmien

Chasing Pandora launches new EP, Paper Skin - 18th June SINGLE - ‘FORGET ME NOT’ Blending emotion, introspection, and cinematic storytelling, Chasing Pandora’s new EP Paper Skin takes listeners through the changing seasons of life and human connection. Across four tracks, the EP explores love, longing, self-discovery, and loss. Each song represents a different season, mirroring the journey from youth to old age and reminding us how fleeting life can be. “Forget Me Not,” the brand-new single, captures the yearning for a fresh start — a rebirth, a fall into something greater than oneself, and a deep longing for connection. “Daydreamer” is an uplifting, youthful track driven by the desire to chase new experiences and emotions. “Ink and Paper” reflects middle age, where self-discovery leads to greater clarity and understanding. The final track, “Disappear,” embodies Winter — a quiet, reflective piece that brings a sense of finality, where friendships, people, and even parts of ourselves slowly fade away.