The first weekend of June proved to be a busy one for local music enthusiasts, beginning on June 4 with the test pressing preview of Spin-Off, the debut solo album by Eric Ace. After a lengthy and successful career with X-Tend—a project that remains active with further releases planned later this year—Ace has finally realised a long-held ambition by bringing together songs he has been writing over the years. Released through 141 Records, Spin-Off marks a new chapter in his musical journey. 'Spin Off' cover artwork Following the preview event, 141 Records described the evening as “a memorable celebration” that allowed attendees to hear the album in full while Ace shared stories about the inspiration and creative process behind the songs. The label also praised the record's “remarkable diversity of musical styles” and highlighted the album artwork as “a striking piece of design that perfectly complements the music.” Musically, Spin-Off is rooted firmly in synth-pop, delivering a collection of infectious melodies and upbeat rhythms that feel tailor-made for summer. While the album does not attempt to reinvent the genre, it succeeds through freshness, energy and strong songwriting. The songs are immediately accessible, packed with catchy hooks and danceable grooves that make it difficult to remain still, regardless of one's dancing ability. The album’s opening track, “Shivers”, was chosen as the first single and is accompanied by a visually engaging music video directed by Myles. The song serves as an effective introduction to the album’s sound, showcasing Ace’s flair for memorable melodies and polished synth-pop production. The album comprises eleven tracks, with most following the synth-pop formula. However, Ace introduces enough variation to keep proceedings interesting. The reggae-flavoured “Don’t Just Give Up” provides a welcome stylistic detour, while an acoustic reprise of “Shivers” closes the album on a reflective note. One could argue that “Don’t Just Give Up” might have made a stronger side-ending track on a vinyl edition, though its current placement arguably works better within the uninterrupted flow of the CD format. photo: 141 Records Among the album's highlights is the instrumental “Intergalactic”, a track that evokes the atmospheric electronic landscapes associated with pioneers such as Jean-Michel Jarre. Driven by sweeping synthesizers and an expansive sense of space, it stands out as one of the record’s most memorable moments. Its accompanying video further enhances the track's futuristic character and artistic appeal. Beyond the music itself, Spin-Off benefits from a strong visual identity. The album artwork is distinctive and contemporary, complementing the modern feel of the songs and helping the release stand out in an increasingly crowded market. Overall, Spin-Off is a refreshing and enjoyable debut solo effort. Filled with vibrant synth-pop tunes, memorable melodies and enough variety to maintain interest throughout its eleven-track running time, the album arrives at the perfect moment for summer gatherings, parties and barbecues. It may not seek to break new ground, but it delivers exactly what good pop music should: entertainment, energy and replay value. For fans of melodic, synthesizer-driven pop, Spin-Off is an album well worth adding to the collection.

After years of friendship, music, and unforgettable memories, Different Minds proudly announce the release of their new album, Different Minds 2026. The band originally started in the late 1990s, recording their very first song, I Can Change. Although the track remained unreleased for many years, lead singer Robert G finally decided to release it in 2018 together with an official music video. Original members Robert G, Jason Mizzi, and Elton Abela later decided to reunite the band after many years apart. What began as casual rehearsals and a chance to reconnect with music soon evolved into something much bigger, especially with new members joining the lineup. At first, the intention was simply to have fun and enjoy playing music together again. Everything changed when the band recorded a cover version of the Maltese band Ray & The Characters, Across The Borderline written by Ray Mercieca. Released in 2020, the song reached Number 1 on the Maltese charts for two consecutive weeks. That success inspired the band to start writing and releasing original material, including singles such as Helping Hand, Different Not Less, and more. For years, the band shared one dream — to release a full album. Today, that dream has become a reality. The album features 11 tracks, including previously released singles alongside six brand-new songs. Another special moment for the band was the return of original drummer Mario Gatt, widely known in Malta for his acting role as “Spiru” in the popular TV series Klassi Għalina. His return reunited the original lineup once again after all these years. The band would also like to thank every musician and member who has been part of the journey throughout the years. Current Band Line-Up Robert G – Lead Vocals George Mole – Lead Guitar Robert Tomasolo (“It Totti”) – Rhythm & Lead Guitar Elton Abela – Keyboards & Piano Jason Mizzi – Bass Guitar Mario Gatt – Drums Different Minds 2026 marks not only a new chapter for the band, but also the fulfilment of a dream that started more than two decades ago.

Emerging from Malta’s growing alternative music scene, Manic Satin is quickly establishing itself as one of the island’s most exciting new rock acts. Drawing inspiration from classic rock, blues, psychedelia, and progressive music, the band combines old-school influences with a fresh contemporary edge, creating a sound that feels both nostalgic and unmistakably alive. Formed by musicians from different generations and backgrounds, Manic Satin thrives on chemistry, spontaneity, and a shared devotion to authentic music-making. Their sound moves fluidly between soulful melodies, crushing riffs, atmospheric textures, and explosive live performances — a reflection of the diverse personalities within the group. The band consists of Joel Baldacchino, Kyle Fenech, Sarah Azzopardi, Grace Elizabeth Victoria, and Jake, each bringing distinct influences and experiences into the creative process. Together, they have built a project rooted not only in music, but also in friendship, humour, chaos, and a genuine connection with one another. Currently, Manic Satin is focused on writing and recording original material while also performing selected covers that showcase the foundations of their sound. Although still in the early stages of their journey, the band is steadily building momentum and shaping an identity that promises longevity beyond the local scene. A New Generation Meets Experience One of the defining characteristics of Manic Satin is the balance between youthful ambition and seasoned musicianship. Some members arrive with years of experience from previous projects, while others are stepping into their first serious musical chapter. This contrast gives the band a dynamic and evolving energy. Bassist Sarah Azzopardi, one of the founding members, represents the newer generation of musicians emerging in Malta. Born in 2006, she describes music as something that has always surrounded her, having grown up in a household where melodies and rhythm were a constant presence. Though Manic Satin is her first official band, her instinctive playing style and natural feel for rhythm have become central to the band’s groove-driven sound. Meanwhile, vocalist Grace Elizabeth Victoria brings a strong theatrical and classical background into the mix. Originally from the UK and living in Malta for nearly a decade, Grace trained in musical theatre from a young age and spent years performing jazz standards and musical theatre repertoire. Her eventual passion for 1960s and 1970s rock music inspired her to join a band that could channel that timeless energy for modern audiences. Built on Passion and Persistence Drummer Jake — humorously known within the band as “The Unga Bunga Man” — brings a raw and deeply personal connection to music. Raised on the sounds of legendary bands such as Black Sabbath, AC/DC, Iron Maiden, and Dire Straits, his musical upbringing began through listening to his father’s record collection. Reflecting on the origins of Manic Satin, Jake admits he was initially sceptical about starting another band after previous projects failed to gain traction. “I said yes anyway. Glad I did,” he recalls. “Manic Satin turned out to be anything but another quick project.” For Jake, drumming is more than performance — it is a language in itself. “Music has never just been about playing. It’s how I connect with people, because doing that through words? Not exactly my strong suit. Behind the kit, though, I don’t need them.” The Veterans Behind the Sound Among the more experienced members are guitarists Joel Baldacchino and Kyle Fenech, both previously associated with the Maltese rock project Pyramid Suns. Joel Baldacchino, born in 1995, has spent years developing his musical identity through projects spanning classic rock, post-rock, proto-punk, and experimental music. Influenced heavily by iconic acts such as Led Zeppelin, Pink Floyd, Deep Purple, and again Black Sabbath, Joel sees Manic Satin as a return to the roots that first inspired him to pursue music. Over the years, his musical interests expanded beyond classic rock into film soundtracks, progressive music, trip-hop, lo-fi, and metal — influences that continue shaping his songwriting today. Despite experimenting with bass and piano, guitar remains his primary creative voice. Kyle Fenech’s journey follows a similar path. After first discovering music at 14, he immersed himself in blues, psychedelic rock, and progressive music, eventually becoming a core member of Pyramid Suns. Although the band showed considerable promise and built a loyal following, internal tensions eventually led to its collapse. After taking time away from music, Kyle was drawn back into the scene when Joel invited him to join Manic Satin. What began as a casual collaboration quickly evolved into a serious new creative chapter. Speaking humorously about the experience of joining a younger generation of musicians, Kyle jokes that balancing responsibilities, music, and “Gen Z band dynamics” has become “part of the adventure.” More Than Just a Band Beyond the rehearsals and performances, Manic Satin appears driven by something deeper than nostalgia or genre revivalism. Their music reflects a genuine love for connection, experimentation, and shared experience — qualities increasingly rare in an era dominated by digital trends and short attention spans. While still developing their catalogue and identity, the band’s energy suggests a project with strong creative foundations and room to evolve organically over time. And as the members themselves like to say: whenever you hear “The Manic Satin”… prepare for a good time. all photos: Manic Satin

On the night of 2 June 2006, inside the Luxol Sports Club in St Andrews, something happened that would quietly reshape Maltese music culture forever. The launch of Is-CD tal-iXtruppaw was not merely another local album release. It was a declaration that Maltese alternative music could sound unapologetically Maltese, chaotic, vulgar, intelligent, theatrical and original all at once. album launch poster / photo: Xtruppaw Twenty years later, the debut album by Xtruppaw remains one of the most influential cult records ever produced in Malta. At a time when much of the local scene was divided between polished radio pop and English-language rock bands imitating overseas trends, Xtruppaw arrived like a loose cannon crashing through a festa band club window. Their songs were loud, satirical, absurd, emotionally sincere and deeply rooted in the rhythms, frustrations and humour of everyday Maltese life. They sang not in polished textbook Maltese, but in the language people actually spoke in bars, village squares, schoolyards and Paceville streets. For many listeners, it was the first time local alternative music truly sounded like them. Music writer and broadcaster Toni Sant immediately recognised the importance of the album. Writing the morning after the launch, he described the event as “historic” and called Xtruppaw “the most excitingly original rock band to emerge from Malta in decades.” That assessment has aged remarkably well. A Sound Born from Malta Itself album artwork / photo: Xtruppaw Is-CD tal-iXtruppaw was impossible to classify neatly. Punk rock collided with ska, festa marches, underground comedy, metal influences and theatrical spoken-word chaos. The songs could shift from ridiculous jokes to biting social commentary within seconds. One moment the band mocked village gossip and macho culture; the next they captured the confusion of adolescence, alienation and the strange absurdity of modern Maltese society. Tracks such as Ġenerazzjoni Ta’ Meqrudin, Glorja Tonna, Il-Pubertà, Rajt Ma Rajtx and Diska Cool Għar-Radio became underground anthems, quoted endlessly by fans and shouted back at concerts with the kind of devotion usually reserved for football terraces or festa marches. The album’s humour often overshadowed how musically inventive it actually was. Behind the jokes was a band with a sharp instinct for arrangement, rhythm and tension. Their songs were meticulously chaotic. Every outrageous lyric, sudden tempo shift and theatrical interruption was carefully designed to provoke a reaction. And provoke they did. The Album Radio Couldn’t Ignore — Even When It Tried To Mainstream Maltese radio in the mid-2000s was still hesitant about heavy local alternative music, especially when sung in raw Maltese slang. Xtruppaw responded exactly as one would expect: by mocking the system itself. album artwork / photo: Xtruppaw In May 2006, weeks before the album release, the band issued the single Diska Cool Għar-Radio. The title alone was an act of satire — simultaneously begging for airplay and ridiculing the industry gatekeepers who rarely supported underground Maltese acts. Ironically, the refusal of mainstream acceptance only strengthened the band’s cult status. Through blogs, MySpace pages, podcasts, copied CDs and word of mouth, Is-CD tal-iXtruppaw spread across Malta’s youth culture. The album became part of dorm rooms, garages, university flats and late-night drives. Fans did not simply listen to Xtruppaw; they quoted them like folklore. Toni Sant and the Underground Revolution No account of the album’s legacy can ignore the role of Toni Sant and his pioneering podcast Mużika Mod Ieħor. In fact, Xtruppaw occupied a central place in the programme from its earliest days. Sant repeatedly championed the band at a time when much of the traditional media ignored them. The very first song ever broadcast on Mużika Mod Ieħor in 2005 was Xtruppaw’s demo version of Ġenerazzjoni ta’ Meqrudin. Years later, Sant would still describe the album as “majestic.” His support mattered because it documented an underground scene that otherwise risked disappearing into memory. Through podcasts, blog posts and reviews, Sant preserved the story of a generation of Maltese musicians who operated outside mainstream approval. Today, much of what survives online about Is-CD tal-iXtruppaw survives because people like Sant understood its cultural importance in real time. More Than Comedy To dismiss Xtruppaw as merely a comedy band misses the point entirely. the band came out wearing space suits for the first part of their launch gig at Luxol / photo: Xtruppaw Yes, the album was hilarious. It was vulgar, ridiculous and intentionally offensive in places. But beneath the chaos was a brutally accurate portrait of Malta during the early 2000s: a country wrestling with modernisation, identity, conservatism and globalisation while still clinging to deeply local rituals and mentalities. The fictional mythology the band created — complete with invented saints, exaggerated characters and surreal narratives — mirrored Malta itself: theatrical, contradictory, deeply communal and permanently balancing sincerity with parody. In many ways, Xtruppaw succeeded because they understood a fundamental truth about Maltese culture: humour is often how people survive discomfort. The Legacy After Twenty Years Two decades later, Is-CD tal-iXtruppaw still feels strangely alive. Its influence can be heard in Maltese bands that became more comfortable singing in Maltese, embracing satire, or mixing local references with international genres. The album helped legitimise the idea that Maltese vernacular culture itself could be material for alternative art rather than something musicians needed to escape from. When the band returned in 2013 with Xtruppożitorju, even contemporary media coverage acknowledged the near-mythical reputation of the debut album. different props and costumes during Xtruppaw's second part of the concert / photo: Xtruppaw And yet, despite its reputation, Is-CD tal-iXtruppaw remains frustratingly difficult to archive properly. Much of its history survives through scattered blogs, old MP3 uploads, fading posters, podcasts and memories shared among fans who witnessed the madness firsthand. Perhaps that is fitting. Xtruppaw were never meant to become polished cultural heritage. They were meant to erupt, offend, entertain and leave a permanent scar on the local scene. Which they did. Twenty years after its release, Is-CD tal-iXtruppaw stands not only as a cult classic, but as one of the defining artistic statements of modern Maltese alternative culture — an album that proved local music could be fearless, self-aware, aggressively Maltese and genuinely original. And somewhere, even now, a new generation is probably discovering Glorja Tonna for the first time and wondering how on earth a record like this was ever made in Malta. Thankfully, it was.

As the Maltese islands move fully into summer mode, June 2026 is shaping up to be an exceptional month for live music lovers. From elegant classical performances inside historic cathedrals to powerful rock tributes and cinematic concerts, the season’s programme offers something for every musical taste. Importantly, this year’s lineup places strong emphasis on live musicianship and performance artistry, with audiences able to enjoy a rich cultural calendar beyond the usual nightlife and club scene. The month begins on Friday 5 June with Baroque Splendour, an evening dedicated to the richness and sophistication of Baroque music. The concert promises a journey through some of the most refined compositions of the period, setting a graceful tone for the weeks ahead. For lovers of classical repertoire, it marks the start of a summer filled with orchestral and chamber music performances across the island. The following evening, audiences can experience Music From Iconic Movies, a concert that transforms beloved cinematic themes into an intimate live performance. Featuring violin, piano and double bass, the event strips away the grandeur of film production and allows the music itself to take centre stage. Well-known melodies from legendary films are reimagined in a more personal and emotional setting, creating a memorable evening for both film enthusiasts and classical music audiences alike. Classical music continues to dominate the cultural calendar throughout June. On 14 June, the Malta Philharmonic Orchestra presents one of its chamber concerts, offering audiences the opportunity to enjoy orchestral music in a more intimate format. On the same day, Guitar Classics brings together timeless compositions and virtuoso guitar performance, showcasing the expressive depth and versatility of the instrument. One of the month’s standout events arrives on 17 June with A Midsummer Dream – An Mdina Resounds Concert. Held inside the majestic surroundings of St Paul’s Cathedral in Mdina, the performance combines architecture, history and music in one atmospheric experience. Featuring the Cordia String Quartet alongside acclaimed Maltese tenor Cliff Zammit Stevens, the concert includes works by Handel, Brahms, Haydn and Dvořák. The setting itself adds a magical dimension to the evening, reinforcing Mdina’s reputation as one of Malta’s most evocative cultural venues. Rock audiences will also find plenty to enjoy this summer. The TS Rock Series 2026, launching on 20 June, brings a more energetic edge to the programme with a celebration of classic rock performance and live instrumentation. The concert series is expected to continue later in the year, building momentum across the summer and autumn months. Also taking place on 20 June is TRA CIELO E CINEMA, a production that blends cinematic atmosphere with orchestral interpretation. The performance explores the emotional connection between music and film, creating an immersive experience driven by sweeping compositions and dramatic musical storytelling. Opera enthusiasts are equally well catered for this season. On 27 June, Opera in the Capital brings celebrated operatic repertoire into the heart of Valletta, continuing Malta’s long-standing appreciation for classical vocal performance. The event promises an evening of famous arias and timeless compositions performed against the backdrop of the capital’s historic charm. The month concludes on a more family-oriented note with Juniors’ Timeless Classics on 29 June, a concert highlighting young musical talent while introducing audiences to some of classical music’s most enduring works. The event reflects the growing emphasis on nurturing future generations of performers within Malta’s cultural scene. Beyond June, the summer calendar continues to build excitement. July will see the arrival of the internationally recognised Malta Jazz Festival, alongside concerts such as Pink Floyd The Wall live, ACHTUNG BABIES: U2 Tribute, and performances by Italian music icons Ricchi e Poveri. Together, these events reinforce Malta’s growing status as a vibrant Mediterranean destination for live music and cultural entertainment. With such a varied and ambitious programme already underway, summer 2026 promises to be one of the island’s strongest seasons yet for concerts and live musical performance. Whether audiences are drawn to classical elegance, cinematic scores, jazz improvisation or rock nostalgia, Malta’s stages are ready to provide a memorable soundtrack to the season. more information can be found on https://www.showshappening.com/

Darkness once again descends upon the islands as the artwork for the 2027 edition of Dark Malta Festival has officially been unveiled, and it is every bit as haunting, majestic, and steeped in symbolism as fans have come to expect. Malta’s ultimate gothic, industrial, and metal experience returns on the 16th, 17th, and 18th of April 2027, and with tickets now officially on sale, anticipation for the next chapter of the festival has already begun to build. One of the highlights of every Dark Malta edition is undoubtedly the annual artwork and overarching theme crafted by the organizers. Each year, the imagery becomes more deeply entwined with Malta’s own history, legends, and shadowy folklore, transforming the festival into something far greater than a musical event…….a dark cultural pilgrimage. This year’s concept does not disappoint. At the centre of the artwork stands the reaper in the guise of Charon, the enigmatic ferryman of Greek mythology. In ancient legend, Charon was tasked with carrying the souls of the dead across the River Styx, the boundary between the world of the living and the underworld. Cloaked in darkness and eternal duty, he transported only those whose passage had been paid, forever rowing through mist and silence between life and death. Yet here, Charon takes on a distinctly Maltese form. Instead of the traditional underworld skiff, he navigates the waters aboard a Maltese luzzu, the iconic fishing boat synonymous with the islands’ maritime heritage. For centuries, the luzzu was essential not only for fishing, but also for transporting people, goods, and supplies between Malta and Gozo long before modern ferries connected the islands. Rugged, resilient, and deeply tied to the sea, the luzzu remains one of Malta’s most recognizable cultural symbols. Traditionally painted upon the bow of the luzzu is the famous Eye of Horus, believed to protect fishermen from the dangers of the sea. The symbol traces its origins back to the Phoenicians, the ancient seafaring civilization that once inhabited Malta and shaped much of the islands’ maritime identity. Through centuries of cultural exchange, myth, and survival, the protective eye endured, becoming inseparable from the Maltese boat itself. In this artwork, that symbolism takes on an even darker resonance: protection against not merely storms and waves, but the passage into death itself. Behind Charon looms Valletta, viewed from the Marsamxett side, a city forged by the Knights of St. John after the Great Siege of 1565. Valletta has always possessed an atmosphere uniquely suited to Dark Malta’s aesthetic: streets steeped in secrecy, baroque grandeur, and centuries of intrigue layered upon one another like ghosts trapped in stone. Across the harbour lies Manuel Island and the infamous Lazzaretto, the quarantine hospital where countless souls were confined during outbreaks of plague, cholera, and other contagious diseases. Within its isolated walls, hundreds met their end, cut off from the world beyond the harbour. Even today, the site carries an undeniable aura of abandonment and mortality, the perfect companion to the festival’s macabre vision. And then comes the final chilling detail. When the death knell tolls from the belfry of St. Paul’s Cathedral, Charon emerges from the mist and rows across the darkened waters to collect the souls of the departed. The harbour becomes the River Styx itself; Malta transformed into a gothic underworld suspended between history and myth. Dark Malta Festival 2027 promises not only another unforgettable gathering of gothic, industrial, alternative and metal culture, but a celebration of Malta’s darker legends and hidden histories …… where mythology, death, and the sea converge beneath the Mediterranean night. Stay tuned for more updates, as bands are already being announced, including Diorama, She Past Away, Grendel, VNV Nation, In Strict Confidence, Chrom, and many more still to come. Tickets are now available from darkmaltafestival.com

In the history of Maltese music, certain names stand out not because they filled concert halls or became international celebrities, but because they changed the direction of music itself. One such figure was Robert Edward “Juice” Wilson — the American jazz musician who arrived in Malta during the turbulent years surrounding the Second World War and left a permanent mark on the island’s musical identity. Though little known outside jazz history circles today, Juice Wilson became one of the most influential musicians ever to work in Malta. A gifted multi-instrumentalist, mentor and performer, he introduced local musicians to authentic American jazz at a time when Malta’s music scene was still developing its own modern identity. Born in the United States in 1904, Wilson had already lived a remarkable musical life before reaching Malta. Raised in Chicago during the formative years of jazz, he performed with some of the great early jazz musicians of the era and toured Europe in the late 1920s with Noble Sissle’s orchestra. Rather than return to America, Wilson remained in Europe, performing across France, Spain, Italy and North Africa before eventually arriving in Malta during the war years. For Maltese audiences of the 1940s, Juice Wilson represented something entirely new. He was not merely a visiting musician; he was a direct link to the birthplace of jazz itself. Wilson played violin, clarinet, alto saxophone and piano, bringing with him the improvisational freedom, rhythmic sophistication and expressive phrasing that defined African-American jazz traditions. At the time, Malta’s entertainment scene revolved largely around dance halls, military clubs and the nightlife district of Strait Street in Valletta. The island was crowded with British servicemen and sailors during and after the war, and music became an important part of social life. Into this environment stepped Wilson, whose performances quickly attracted admiration from local musicians eager to learn from someone who had lived the music rather than simply studied it. Among those deeply influenced by him was the young Sammy Murgo, who would later become one of Malta’s greatest jazz saxophonists. Murgo initially played the violin, but it was Juice Wilson who persuaded him to switch to the saxophone — a decision that would change the course of Maltese jazz history. That encouragement proved transformative, helping shape Murgo into one of the defining figures of Maltese jazz for decades to come. Wilson’s influence extended beyond Murgo. He also mentored and inspired musicians such as Tony Carr, Freddie Mizzi and Frank “Bibi” Camilleri. Tony Carr, who later built an important career in Britain’s jazz scene, famously described Wilson as “the best thing that ever happened to Malta.” Carr recalled how Wilson introduced Maltese musicians to authentic jazz phrasing, improvisation and swing feel at a level they had never previously encountered. What made Wilson especially important was that he taught through example. In an era before formal jazz education existed in Malta, young musicians learned by listening, observing and performing alongside experienced players. Wilson became a living classroom. Through jam sessions, performances and informal mentorship, he helped create a generation of Maltese musicians who approached jazz not merely as dance music, but as an expressive art form. His presence also carried cultural significance. During the 1940s Malta was still a conservative colonial society, and Wilson — alongside fellow musician Levy Wine — was among the first Black professional musicians many Maltese people had ever encountered personally. Beyond music, his presence widened cultural horizons and connected Malta to broader international artistic movements at a time when the island remained geographically and culturally isolated. Despite his immense influence, Juice Wilson never achieved widespread fame. Much of his life remains difficult to document, and relatively few recordings survive. Like many itinerant jazz musicians of his generation, he spent much of his career moving between countries, clubs and temporary engagements rather than recording extensively or building a commercial profile. Yet his legacy in Malta endured long after he left. The development of Maltese jazz in the post-war decades can be traced directly to the musicians he inspired and trained. In many ways, Wilson served as a bridge between early American jazz traditions and Malta’s emerging modern music scene. Today, documentaries and historical research into Malta’s jazz heritage increasingly recognise Juice Wilson as one of the foundational figures of local jazz culture. Though he may not occupy the same place in global jazz history as internationally celebrated stars, his contribution to Maltese music was profound. Without Juice Wilson, Malta’s jazz story — and perhaps the careers of musicians like Sammy Murgo — might have unfolded very differently. His influence was not measured in fame or record sales, but in the generations of musicians who carried forward the sound, spirit and freedom of jazz that he brought to the island. Photos: AB Fable Archive (1,3,4) Guze Camilleri (2) Paris, c.December 1962 Photos courtesy and copyright © Milton H. Mesirow American jazz multi-instrumentalist Juice Wilson made Malta his home in the 1940s following years of performing across Europe. Noble Sissle Orchestra with Juice Wilson on the left, Ostend, 1929, photo Antony AB Fable Archive - additional restoration Nick Dellow abar.net

A decade has passed since the publication of Remembering Rediffusion in Malta: A History Without Future, Toni Sant’s seminal exploration of one of the most formative yet elusive chapters in Malta’s media history. First released in 2016, the book remains a rare and vital attempt to reconstruct the story of Rediffusion—the British-run cable radio and later television service that shaped Maltese broadcasting for forty years, from 1935 to 1975. Rediffusion was more than a technological system; it was a cultural institution embedded in everyday Maltese life. For generations, the familiar sound of wired radio programming filled homes across the islands, delivering news, music, drama, and educational content. The service played a crucial role in developing Maltese-language broadcasting after the Second World War and later introduced television in the early 1960s, marking a turning point in how audiences engaged with media. Among the many voices associated with Rediffusion were broadcasters, journalists, and cultural figures who would leave a lasting imprint on Malta’s media landscape. Names such as Charles Abela Mizzi, Joe Grima, and Freddie Portelli are often recalled in connection with the era, alongside numerous technicians, producers, and presenters whose contributions helped define the sound and identity of Maltese broadcasting. Their work laid the groundwork for what would eventually become the national broadcasting service following the transition to Xandir Malta in 1975. photo: A Sant Sant’s book stands out not only for its subject matter but also for its methodology. Rather than presenting a straightforward chronological history, it approaches Rediffusion as a form of “media archaeology.” Faced with a scarcity of archives and fragmented documentation, Sant pieces together a narrative from oral histories, surviving recordings, and scattered records. The result is a textured, reflective work that acknowledges its own gaps—hence the evocative subtitle, A History Without Future? The phrase captures both the fragility of the historical record and the urgency of preserving collective memory before it fades entirely. Ten years on, the book’s significance has only deepened. It remains the first major English-language study dedicated to this period of Maltese broadcasting and continues to serve as a key reference for researchers, artists, and cultural practitioners. Its influence has extended beyond academia, inspiring theatrical productions and renewed public interest in the Rediffusion years, demonstrating how historical inquiry can resonate across disciplines. Critical reception at the time of publication was modest but notably positive. Reviews in the local press highlighted the book’s ability to evoke nostalgia while maintaining a careful, scholarly tone. Commentators praised Sant for resisting the temptation to romanticize the past, instead offering a measured and analytical account of Rediffusion’s cultural and social impact. At the same time, reviewers acknowledged the inherent limitations of the project: the fragmented nature of the available evidence meant that the history could never be fully complete. Yet this was often seen not as a flaw, but as an honest reflection of the challenges involved in reconstructing a largely undocumented past. photo: Midsea Books In retrospect, this balance between memory and analysis is precisely what gives the book its enduring value. It does not claim to provide definitive answers; rather, it invites readers to consider how histories are constructed, preserved, and sometimes lost. As Malta continues to grapple with questions of cultural heritage and archival preservation, Sant’s work serves as both a warning and a guide. A decade after its publication, Remembering Rediffusion in Malta remains a quiet but powerful milestone in Maltese historiography. It reminds us that even in the absence of complete records, the effort to remember—to gather fragments, voices, and traces—can itself be an act of cultural preservation. In revisiting Rediffusion, Sant ensured that a foundational chapter of Malta’s media history would not disappear entirely into silence.

KRISHNA ‘Absence as Loss’ Krishna return with Absence as Loss, a deeply immersive new record that expands on the emotional and sonic weight of their previous release Headless. Centered around the enduring presence of absence, the album traces the void left behind by loss, how it reshapes lives, sets unseen chains of events in motion, and quietly becomes something we learn to grow around rather than escape. Across its runtime, Absence as Loss sees the Maltese instrumental duo push further into their identity, refining a sound that pulls from post-metal, post-rock, drone, ambient, doom, and beyond, without ever settling into one form. The result is a body of work that feels both heavier and more introspective, deliberate, patient, and unflinchingly honest. LISTEN TO ABSENCE AS LOSS HERE Absence as Loss is out now digitally on all major platforms and on limited edition transparent shell cassettes via Kewn Records. 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 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

JOON Revives Ġiżimina After a Decade with New Mini-Album “Id-Dlam Id-Dawl” and Live Return at Offbeat Electro-pop artist JOON returns to Malta this month with a rare live performance of her long-running side project Ġiżimina, marking the project’s first public appearance in a decade. The event will take place on Friday 29 May at Offbeat Music Bar in Valletta, with doors opening at 8pm and the performance starting at 9pm. Entrance is free. Best known internationally for her work as JOON, Yasmin Kuymizakis first introduced Ġiżimina through a series of performances and sound installations that revisited Maltese folk traditions through a contemporary feminist lens. Early works explored the relationship between gender, folklore, memory, and space, often confronting the contrast between public and private expression in Maltese culture. Among these works was “Xandira Moqżieża” (“Filthy Broadcast”, 2015), an installation in which radios suspended from washing lines broadcast reinterpretations of għana songs, drawing attention to the historic divide between men singing publicly and women’s voices remaining within the domestic sphere. The project also reimagined traditional material including Mary Rose Mallia’s “Il-Bejjiegħa tal-Ward” (2016), transforming it into a meditation on overdevelopment and the rapid erosion of Malta’s urban and natural landscapes. Now, ten years later, Ġiżimina returns in a more intimate and introspective form with the release of the new mini-album “Id-Dlam Id-Dawl”, due out on 8 May 2026. Built from chopped guitar samples sourced from the Magna Żmien archive, the seven-track release continues to draw from Maltese musical heritage while shifting its focus inward, exploring memory, identity, fragmentation, and renewal. “With ‘Id-Dlam Id-Dawl’, Ġiżimina moves away from direct critique into something quieter and more reflective,” Kuymizakis explains. “It’s about holding space between past and present, where darkness and light meet, where things fall apart and slowly take shape again.” The performance at Offbeat forms part of the venue’s ongoing programme of experimental and alternative live music events, which continue to expand the boundaries of Malta’s contemporary music scene while maintaining the intimate atmosphere for which the Valletta space has become known.

Emerging from the vibrant music scene of Malta, K.A.R.R has steadily established itself as one of the island’s most distinctive electronic acts. Blending retro-inspired synthesizer textures with soaring guitar melodies and cinematic atmospheres, the power trio has carved out a sound deeply rooted in synthwave while maintaining a strong rock-driven identity. Their music channels the nostalgia of the 1980s through a modern lens, combining neon-soaked soundscapes with emotional songwriting and technical musicianship. On 24 April, the band officially announced its return through social media, reigniting excitement among fans of the synthwave genre. In their statement, the band declared: “K.A.R.R is Back! In a few weeks, we will be releasing our brand new album ‘Runaway Heart’ in collaboration with the amazing JJ Mist. The title track was released as a single on 30th May 2025 on RetroSynth Records. Bringing you the next generation of Synth.” JJ Mist photo: Nicholas Charles The upcoming album Runaway Heart marks an important creative chapter for the band, particularly through its collaboration with New Zealand synthwave artist JJ Mist. Known for her nostalgic yet contemporary approach to electronic pop music, JJ Mist has built a growing reputation within the international synthwave scene through emotionally driven vocals, cinematic songwriting and strong 1980s influences. Her music blends retro-inspired synth textures with elements of dance-pop, funk and atmospheric electronic production. Raised in a musical family and inspired by iconic artists such as Madonna, Sade and Culture Club, JJ Mist developed a style that captures the romanticism and energy of the 1980s while maintaining a modern edge. Her 2019 album Communication was praised for its nostalgic sound palette, combining Caribbean rhythms, funky guitars and heavy basslines with shimmering synth production. Tracks such as “Night Queen,” “Cruel Love” and “L.D.L.A” further established her identity as a rising figure within the retro-electronic movement, while collaborations with various synthwave producers expanded her international reach. Her artistic approach has often been described as music created “through the lens of the eighties,” combining emotional storytelling with immersive atmospheres and polished synthwave aesthetics. The collaboration between K.A.R.R and JJ Mist on Runaway Heart reflects a natural artistic synergy. Both artists share a passion for cinematic soundscapes, vintage synthesizer tones and emotionally charged compositions rooted in retro culture. The title track, released as a single on 30 May 2025 through RetroSynth Records, offers listeners a glimpse into the album’s sonic direction — a fusion of atmospheric synthwave, melodic rock influences and evocative vocals. At the heart of K.A.R.R is founding member Eric Soler, better known by his stage name “Soul.” Widely regarded as the creative architect behind the project, Soler first conceived K.A.R.R around 2015 as a solo synthwave venture inspired by the iconic 1980s television series Knight Rider. A lifelong enthusiast of retro culture and vintage memorabilia, Soul sought to create a signature sound that captured the essence of the decade while pushing synthwave into new territory. Eric Soler aka ‘Soul’ photo: Max Pixbymax With more than two decades of experience as a DJ and electronic music producer, Soler developed a reputation for his expertise in sound design and songwriting. His production philosophy centers on recreating “the sound of yesterday for tomorrow,” giving K.A.R.R its unmistakable nostalgic yet futuristic identity. Known within the band as both its eldest and “according to him — the wisest,” Soul remains the driving force behind the group’s conceptual and sonic direction. Joining him is guitarist and producer Kurt Aquilina, one of Malta’s most respected musicians. Aquilina became part of K.A.R.R in late 2015 and quickly emerged as one of the project’s key creative forces. A seasoned performer with extensive experience both locally and internationally, he has performed across Germany, the United Kingdom and Italy, among other countries. Among the highlights of his career was sharing the stage with legendary guitarist Steve Vai. Kurt Aquilina photo: Max Pixbymax Aquilina’s guitar work has become one of K.A.R.R’s defining characteristics. Drawing heavily from the virtuosic guitar styles of the 1980s, his playing combines technical precision with emotional depth, seamlessly integrating rock and metal influences into the band’s synth-driven foundation. As an accomplished producer and studio engineer, he has also collaborated with several prominent Maltese artists and contributed to productions for television and media. The guitarist played a pivotal role in shaping the sound of Runaway Heart, helping to craft what the band describes as a bold evolution of their signature style. His ability to merge soaring “shred” guitar tones with warm, ethereal synthwave atmospheres has transformed K.A.R.R into a uniquely hybrid act that stands apart within the genre. Outside of music, Aquilina balances his artistic pursuits with life as an educator and aviation enthusiast. Inspired by the 1986 classic Top Gun and aviation-themed video games from his childhood, he is currently training as a student pilot, a passion that often influences the cinematic themes present throughout the band’s music. Jean Pierre Genovese photo: Max Pixbymax Completing the trio is Jean Pierre Genovese, a synthwave and electronic music producer with over a decade of experience in music production. Deeply inspired by the authentic sounds of vintage 1980s synthesizers, classic film scores and retro video game soundtracks, Genovese brings a cinematic and emotionally driven dimension to the group’s evolving sound. A longtime admirer of cult cinema from the 1980s, Genovese approaches music with an emphasis on atmosphere, storytelling and texture rather than technical exhibitionism. His evolving style focuses on crafting immersive soundscapes that blend nostalgia with contemporary production techniques, further strengthening K.A.R.R’s cinematic identity. Together, K.A.R.R has developed a sound that bridges multiple musical worlds — combining synthwave, rock, metal and cinematic electronica into a cohesive and emotionally resonant experience. Their return with Runaway Heart signals not only a new chapter for the band but also a renewed commitment to pushing the boundaries of modern synth music. With a growing catalogue, an evolving international collaboration with JJ Mist and a passion for innovation rooted deeply in retro culture, K.A.R.R continues to stand as one of Malta’s most intriguing contemporary musical acts, bringing what they describe as “the next generation of Synth” to audiences both locally and beyond. K.A.R.R. photo: Max Pixbymax

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.