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Lyndsay Pace on her journey to motherhood and new music! Lyndsay Pace is an established singer/songwriter from Malta who has taken part in a number of renowned festivals, popular TV shows and media related projects. Her uplifting energy and colourful spirit are reminiscent of influential artists while here unique vocal performances are stark and beautiful, embodying the catchy appeal of pop music.   Known for her top charting singles, Lyndsay’s now welcoming her new journey as a mother and is embracing this moment with the release of her new song entitled “Lullaby” including the official visualizer, a profoundly moving ballad that comes from the heart. The track is penned by Lyndsay herself and produced by Dan William Rooney from Ireland in collaboration with Safo Style. It’s a sentimental piece that resonates with the universal truth, reminding us of the enduring power of maternal love with the expression of gratitude and pure emotions.    With so much to offer, Lyndsay continuously represents herself in the best possible way with qualities that are summoned through power and courage. There is an ambition, one to contain the excitement and perform in the most suitable standard, bringing out a diverse music taste in the industry. She hopes that in due time, she can set her foot abroad to reach her dreams of becoming an established artist.   www.lyndsaypace.com

Many associate Dr. Stephen C. Spiteri with fortresses and military history, and rightly so because he is the mind behind tons of research and a multitude of publications, apart from having lectured on the subject for many years at the University of Malta. Others also know him for his pen drawings featured in exhibitions and, more frequently, on his Facebook page. But behind the academic and artist, there is also an unknown musician who loves to explore and tinker with synthesizers and electric guitars to create his own music.  The Sound of Tinkering is his latest endeavor.  This solo project is, as he describes it “ a journey of exploration and discovery made possible only with modern technology and the magic of Digital Audio Workstations (DAW) .”  Let us dig a bit deeper into the mind behind The Sound of Tinkering.   What is your first recollection of music?  What type of music were you exposed to when you were still very young?   My introduction to music came with my father, who loved classical music and opera, and played them at home all the time on his cabinet record player. But the real hold over my imagination came from my uncle, Norbert, my mother’s younger brother, who opened up a world of contemporary groups and singers whenever, on weekends or during the long summer holidays, I spent time at my grandmother’s house in Ħamrun. Norbert also gave me my first record player as a teenager.   How did your musical tastes change as you grew up?    I have always been drawn to rock music and this taste has not changed much as I grew older, although, nowadays, I appreciate and seek out most forms of music. The first LP record I ever bought with my own pocket money, much to chagrin of my opera-loving father, was 24 Carat Purple by Deep Purple, which I could only play when he was not at home. Eventually, I found my way to the Canadian group RUSH and this trio has remained my most favorite band ever since. Along the way I discovered many other bands such as Queen, U2, Simple Minds, Marillion, Flock of Seagulls, Dream Theatre, Nightwish, Amaranthe, Tazenda, etc., and recently, Damaged & Co. Which groups influenced you to pick up an instrument and which was the instrument of your choice?   The band which most heavily influenced my notion of song writing and musical creation has been, undoubtedly, RUSH. Their blend of guitar and synthesizer sound, coupled with deep meaningful lyrics – a unique combination of rock music and intellect – has never lost its hold over me.   Perhaps, it was for this reason that I was drawn early in my adolescence to the fascinating creative sounds and boundless potential of synthesizers and electric guitars, as well as the bass, and these remained the main instruments in my quest to create my own compositions. My first instrument was an acoustic twelve-string guitar, and this was followed by an electric guitar which I bought with the money earned from a summer job at a bottling factory.  It was a black Hohner HG-427TB, a telecaster copy, solid body electric guitar with two humbucker pickups, which sadly I no longer have. This was followed by my first synthesizer, a Korg X-911 monophonic guitar synth which allowed me, amongst other things, to play my guitar as a bass. I eventually also bought an unwieldy second-hand Jen keyboard / synthesizer which introduced me to sequencers. Rock, however, requires drums, and it was only after I discovered drum machines and later, midi-programming, that I was able to truly formulate complete tracks of my own.   In 2003, together with Pierre Galea (lead / rhythm guitars), Andre’ Magri (lead / rhythm guitars and John Spiteri Gingell (vocals / lyrics), you formed the recording group My Aku Aku.  How did this come about?   I don’t recall the exact moment when this actually came about, but by that time I had tried to join a garage band or two, none of which lasted very long, largely because I was more interested in recording than in playing live. I think the breakthrough moment came when I got to know Pierre Galea, an excellent guitarist, with whom I got along very well and formed a lasting friendship. We had first met, I believe, via the band ‘The Unexplained’, headed by the late Pawlu Borg, when they used to rehearse in one of the changing rooms at the Infetti football ground in Mrieħel, which was situated just a stone’s throw away from my parent’s house.  I also roped in my younger brother John as singer and as lyricist – ever since our youth (prior to the age of computer games and smart phones) we used to entertain ourselves at home by creating songs and recording them on a Philips double tape recorder, which allowed us to primitively overlay tracks and create the semblance of songs.  Around 2004, John introduced me to Andre’ Magri, another excellent guitarist and IT specialist, who in turn introduced me to midi programming and also contributed his own original compositions which were included in the last two albums. This was basically the line-up of My Aku Aku.  Above all, however, it was my discovery of the magic of digital audio workstations (DAW) which truly opened up the world of recording to me. The ability to record at home, and at one’s leisure, with precision and clarity, made all the difference, as did the access to countless virtual instruments and other recording and editing software.   What is the meaning behind the name of the group – My Aku Aku? Ozymadies cover (2003) The name My Aku Aku is taken from Thor Heyerdahls’ book Aku Aku, The Secret of Easter Island (London, 1960). Thor Heyerdahl was the famous archaeologist and explorer who sailed across the pacific on board a replica of an ancient balsa raft, the Kontiki, to test his hypothesis of a seaward migration towards the isolated Easter Island with its monumental statues. At the time when we were forming the group, I was very much into this type of literature. The Aku Aku is a sort of spirit, the inner soul of the ancient Easter Island people. The name had a particular significance to us as it resonated with our musical attempt to give form to our inner voices, the spirit, so to speak, that captured the ineffable and inexpressible nature of our humanity. The words of Thor Heyerdahl himself best explain this: ‘My thoughts were my aku aku … conscience, intuition, all that could be put together to convey the idea of an invisible spirit’.   My Aku Aku released three albums, Ozymandias (2003), Spiral Vortex (2004) and Stories for Boys (2006).  Tells us something about these three albums and how the sound of the band evolved through the years.    Spiral Vortex cover (2004) The albums developed mainly as concept albums, and all revolved around broad themes. Ozymandias revolved around the mysterious and impermanent nature of our existence; Spiral Vortex, formed around the theme of the geometric patterns that permeate the universe – the spiral being the metaphorical symbol of the cycle of life, the essence that connects all things; Stories for Boys, on the other hand, was more loosely bound, but dealt with an emerging youth, with tales of mystery and adventure, and the coming of age. This last album was, in my opinion, the best of the three efforts, both technically and recording-wise.      My Aku Aku was more of a recording project than a live band.  Was this a conscious decision?   Stories for Boys (2006) Yes, indeed. My interest has always been primarily in the creative process of music-making, the studio work, rather than the performative aspect. It still is to this day. I consider it as an extension of my drawing or painting, where the musical instruments become my pens and brushes; their sounds, my colours; and the digital audio workstation, the paper on which I bring everything together. The combinations are infinite and exciting, and discovering these is what truly drives me along. Although recording requires concentration and can be tiring and taxing on your nerves, especially when you must repeat takes until you finally get it spot on, it can also be cathartic in its own way.   After My Aku Aku disbanded did you pack up your instruments and call it a day or did your continue tinkering as a solo artist?   I think, looking back, we never consciously disbanded; it was just that life came our way, as we each had to face our own separate work and family commitments. There also was little effort exerted on our part to disseminate our music apart from the handing out of a few complimentary CDs.  There were a couple of favourable reviews in the local papers, mind you, and a website was set up by John to promote the music, but in effect these didn’t attract many listeners. At the time none of us had Facebook. So, it simply died a natural death. But deep down there was always the desire to create something together again at some later stage. For a while, I experimented alone with midi, creating a handful of new instrumental tracks which I have now remastered and reused. But for most of the intervening years I had little time and energy to think about it, caught up as I was in my studies and other obligations. It did not help, either, that computers and hard drives kept dying on me with the loss of most of the original music files (especially those linked to VST settings). It was a good thing that I had converted many of the tracks to audio format since this eventually allowed me to recuperate and remaster the material, though not without difficulty. The Sound of Tinkering in the making In 2020 you made a comeback with The Sound of Tinkering project, which is basically your solo and independent recording project.  What rekindled the flame for composing and recording new tracks?   I believe two things served to rekindle the desire to start tinkering again with music; the first was the Covid lockdown, which found me with more time on my hands and the need to do something creative in order to retain my sanity; secondly, and perhaps more importantly, was that I got to know Keith Muscat. After I returned from my studies at University in February 2019, I was posted in the same office as Keith, and we quickly developed a friendship, as we found we both had a deep mutual fascination with history and music. Keith, as the keyboardist and lyricist of a leading metal band named Damaged and Co., allowed me the unique privilege of listening to their tracks as these were being composed and developed, and this inevitably reawakened my dormant (hibernating) enthusiasm for music making. Still, it was not a straightforward task, as I had to slowly relearn the process and tricks of digital recording, and grow acquainted with the latest DAW software since these had changed from the simpler versions, I used to work with 15 years earlier. Moreover, the decision to restart where I left off, also meant that I had to invest in new equipment to allow me to create the basics of a recording studio environment – nothing fancy, but the tools necessary to get the job done.     How did the name of your project come along?   Good question.  Partly by accident. For a long while, I had been casting around for a suitable name, original but unpretentious - one that would capture or reflect my music and recording process, but I failed to come up with an appropriate title. Then, I fortuitously came across a painting by Jean Eugene Buland, titled The Tinkerer, depicting a tinker in his workshop, and this triggered off the whole idea of The Sound of Tinkering. For, at the end of it all, my music remains little more than the sound of my own tinkering with guitars, synths and software … an ephemeral imprint signalling a “we were here” moment in the ever-shifting sands of time.   What are your current inspirations when you sit down to compose your music?   These vary. Often, a track or song starts off with a simple tune or a sequence of chords on my acoustic guitar or keyboards, or a riff on my electric guitar, and eventually I develop these into a compositional structure, adding drums, bass and keyboards as I go along. Broadly, my style falls under the category of Alternative or Progressive rock, but I try not stick to any one style and let the music take me where it goes - at times electronic, at times acoustic and at times hard rock.  Not everything works out, obviously, but occasionally an idea starts to come together with the potential to develop into a song or instrumental track. Usually, the final product is unanticipated, the result of a pleasant accidental discovery and blending of the various textures, sounds and beats. Often, there also develops a theme, suggested by the nature of the melody or rhythm itself, like for example the track ‘Ebb and Flow’ which came to suggest the motion of receding and returning waves in a tide.   At the moment, and working alone as I do, the new tracks tend to be instrumental pieces, since my voice is not really suitable for singing. Still, I have composed a handful of songs, lyrics and all, which I would like to see materialize at some stage - hopefully, along the way, I will find a vocalist who is willing to collaborate with me.    Apart from new material, you have also remastered material from the three albums released by My Aku Aku.  How difficult was it to rework tracks that were recorded by technology that today is considered as nearly obsolete?   Yes, apart from creating new material, I took it upon myself to remaster many of the old tracks, some 29 in all, from the previous three My Aku Aku albums. I also heavily re-engineered many of these and converted them from songs into instrumental tracks, especially those from the first two albums. In many instances, the re-engineered tracks are now virtually new compositions, and I renamed them accordingly. This proved easier said than done, however, since having unfortunately lost many of the original files, I had to acquire and learn to use dedicated software that allowed me to dissect the old audio tracks and separate them into their various component layers. Where it was not possible, I had no option but to re-record the various elements again. This was very time-consuming and not always successful. So I reused what I could, but I am very glad I invested the effort, tedious as it was, as they now sound much richer and complete.     Where can people find your music to listen to?   The Sound of Tinkering, 39 tracks in all, can be found both on Youtube, in a playlist in my channel under my name (Stephen Spiteri), as well as on SoundCloud, under the Sound of Tinkering, as per the links below:   Youtube   SoundCloud   The Sound of Tinkering The Collection CD Cover artwork (2025) Apart from the online releases, recently you faced the mammoth task of gathering all your work in a three-cd collection entitled The Sound of Tinkering – The Collection.  Apart from being responsible for all the music, you took care also of the artwork.  How did this project come about?   The new CD ‘The Sound of Tinkering – The Collection’ was not really planned at all, to tell you the truth. Thus far, I had been happy simply uploading the tracks to my Youtube channel and on SoundCloud as stand alones. However, during an interview on the radio programme ROCKNA earlier this year, Michael Bugeja, the host, suggested that I should consider bringing all the material together in the form of a CD or a collection of CDs. The idea soon grew on me, and I have been working to this end during the last few months. I considered various options for the title and cover design. Initially, I sought to adapt Jean Eugene Buland’s painting but the whole graphic concept did not really convey the nature of the project. I eventually adapted an earlier artwork of mine which I had created as a cover for the track ‘Inbuilt Obsolescence’ and this proved to be more successful – thankfully, it seems to have resonated well with many of my Facebook audience. It was a process of trial and error, but eventually one gets there after bouncing ideas off friends. Here, my training and former work in graphics and book design came in handy as I could produce the necessary artwork for the CD sleeve jacket covers and labels, and internal foldout, on my own and in the way I wanted them.   Unfortunately, as you stated in an online post, this collection will not be for sale.  Do you consider making it available if there is enough interest?    Yes, it’s a limited edition that will be available mostly for promotional purposes and as a few complimentary copies, for the time being. If, however, there proves to be a demand, I will try and find a sponsorship to a have more produced. In this way they can also be handed out free of charge, as my sole interest, at this stage in my life, is simply sharing my music.  I have nothing to prove here, just a desire to share. It gives me great satisfaction when listeners from across the world listen to and resonate with my music and let me know that they enjoy it. Hopefully, the CD collection will serve as a calling card as I send it out to radio stations.   The Sound of Tinkering The Collection CD (2025) All tracks on the CD’s are available on SoundCloud and one can watch music videos through YouTube channel.  Are you planning any new tracks for future release?    Yes, hopefully, whenever inspiration strikes. I am trying to create some Ambiental and Atmospheric tracks revolving around the notion of abandoned wrecks and buildings. Nostalgia is a powerful emotion I love to interact with. I would also like to collaborate with other musicians, likewise inclined to the creative recording aspect, if the opportunity arises. Apart from enhancing our soundscape with your music, you are also an accomplished artist.  Word has it that there is a new exhibition in the pipeline.  Can you tell us more about it?   God willing, there is an exhibition planned for early next year. If all goes as planned, it will contain around 50 of my pen drawings of various sizes, under the title of ‘Arti – My Land, My drawings’.  At the moment, I’m working out the logistics … which drawings to choose, framing, exhibition catalogue, etc. Fingers crossed.   You’ll be amongst the first to know when everything is finalized.

Earth Garden Festival is set to return to Malta’s Ta’ Qali Picnic Area from June 6 to 8, 2025, celebrating its 18th edition with an expanded lineup and enhanced experiences. Since its inception in 2007, the festival has evolved into one of Europe’s most cherished alternative music events, recognized twice among the continent’s top 20 festivals. This year’s headliners include the acclaimed electronic duo Basement Jaxx and the genre-blending Fun Lovin’ Criminals. The lineup also features a diverse array of artists such as Rudimental, Hilight Tribe, Henge, Prince Fatty, and local favorites Tribali and Brodu, among others . The festival will showcase six distinct stages: the Roots Stage, Electronic Sphere, Enchanted Forest, Strawberry Fields, Music Playground, and a newly introduced secret stage accessible through a hidden passage. These stages will host over 140 acts spanning genres like world music, reggae, ska, hip-hop, alternative rock, electronic, techno, house, and psychedelic trance . Beyond music, Earth Garden emphasizes wellness and sustainability. The Healing Fields will offer workshops, meditation sessions, and the newly introduced Ice Baths program. The Ethnic Market, known for its vibrant colors, will feature a wide array of handcrafted items reflecting diverse cultural heritages . Family-friendly initiatives include the Earth Kidz area, offering activities like yoga for children, VR experiences, and a silent disco. A dedicated family camping zone ensures a comfortable experience for attendees of all ages . Accommodation options have expanded with the introduction of a glamping area, featuring bell tents equipped with luxury linens and complimentary breakfast. General camping and tent rental services remain available for those seeking a more traditional festival experience . To facilitate transportation, Malta Public Transport will provide special services during the festival, including routes from Bugibba, Valletta, and Pembroke to Ta’ Qali, as well as late-night services to various localities . Tickets are available for purchase at www.earthgarden.com.mt/tickets . Early bird tickets have sold out, but Tier 1 weekend tickets are still on sale. Organizers encourage prospective attendees to secure their tickets promptly, as the festival is anticipated to be the largest production to date. For more information on the lineup, ticket options, and festival amenities, visit the official Earth Garden website at www.earthgarden.com.mt .

Introduction    " Music is enough for a lifetime, but a lifetime is not enough for music ." -- Sergei Rachmaninoff    This quote speaks to every musician, listener, and creator who has ever felt overwhelmed -- in the best possible way -- by the depth and mystery of music. Whether you've been playing for decades or just picked up an instrument, the journey never ends. And that's the beauty of it.   Why Music Feels Infinite     Music is not simply a sequence of notes or sounds -- it is a universe of culture, emotion, and evolving language. Across genres, eras, and cultures, the variations are endless. You could spend a lifetime studying just the blues or maqam, or fugue -- and still find something new tomorrow.   A 2021 Journal of Music Perception study showed even trained musicians continue to fine-tune their perception of pitch, rhythm and harmony into late adulthood -- suggesting our brain's relationship with music changes continuously, instead of finally reaching a "level."   Music and the Brain   Lifelong Partnership Studies in neuroscience have shown that music has benefits that last a lifetime. Research from Harvard and the University of Edinburgh reveal sustained involvement with music -- whether listening, playing or composing -- enhances brain plasticity, memory, and emotional regulation.   This goes back to Rachmaninoff's concept: while a lifetime of music can bring deep rewards, it is still not enough to tap out all the wealth she holds.   The Personal Journey   Every musician has his own road. Some focus on technical mastery, others on emotional expression. And just as you think you have found your platform -- something shifts everything.   I often reflect on how my own involvement with music has changed over the years. What used to be hard 20 years ago now feels natural -- and what seemed clear then, I now see with new eyes (and ears).   Music Is Not a Race   A great irony in music is that the more you learn, the more you realise how much you don't know. It's easy for musicians -- whether deeply involved in classical, jazz, pop or any of the other myriad genres -- to feel they are kings within the world of their specialty. But often, we underestimate the depth and challenge of another form. To play a Bach fugue, improvise on a jazz standard or write the perfect pop hook each demands its own set of skills and attitudes, its own sacrifices. Not one school has the entire claim to excellence. So let's keep our minds open and courteous -- for music is not a race and none of us is yet at the finishing line.   Conclusion   Music is our life companion, not just one subject that ends with a final exam. If you are playing an instrument or writing your own compositions, you are helping establish music's tradition for all time to come. And so whether just playing some scales or making up some music of your own, know this: you are part of an unbreakable stream.   Listen to my latest music Follow behind-the-scenes on Instagram Shop merch, vinyl & CDs

Over two decades after their formation, Rising Sunset continue to blaze their trail through the metal scene with their unmistakable blend of darkness, and melodic might. Their latest release, Vade Draconem Maledicte , which dropped on November 22, 2024 via Bandcamp, stands as a commanding testament to the band’s enduring vision and artistic evolution. Having emerged in 2001 as purveyors of Symphonic Power Metal, Rising Sunset has steadily morphed their sound into a more brooding and complex incarnation—now firmly grounded in the realm of Symphonic Gothic Metal. This transformation, while shaped by numerous lineup changes over the years, has never compromised the band’s core identity. If anything, Vade Draconem Maledicte  proves that Rising Sunset has only grown more focused and formidable. The album’s title, translated roughly from Latin as "Go Back, Accursed Dragon" , offers immediate insight into its thematic direction. Across its nine tracks, the record delves into motifs of deliverance, exorcism, transformation, rebirth, liberation, hope, and ultimately, triumph over evil. From the relentless opener "A State of Darkness" to the defiant closer "Vengeance Is Mine", Rising Sunset crafts an immersive sonic journey that is as cinematic as it is visceral. Standout tracks like "Shadows Are Speaking" and "Vade Retro Satana" underscore the band's matured sound—a deft balance of choral grandeur, haunting melodies, and aggressive riffing. There is a deep sense of narrative in this album, almost liturgical in its structure, and profoundly spiritual in tone. Rising Sunset at The Garage 22nd November 2024 durin g Vade Draconem Maledicte  album launch gig The cover art, crafted by renowned artist Julian Mallia, plays no small part in conjuring this atmosphere. In a Facebook post dated November 18, 2024, Mallia revealed: “The band members were kind enough to trust me with their vision for this album... Following the idea generation phase / pencil sketching phase (based on discussions with the band), the final artwork was hand-drawn digitally. The image is intended to evoke an ambiguous narrative that, together with the chosen colour scheme, sets the tone for the album.” Indeed, the artwork—simultaneously mythic and introspective—complements the music’s soaring, sombre textures, amplifying the overarching themes of spiritual warfare and transcendence. With this release in hand, Rising Sunset shall be making a return to the live stage in 2025, having been announced earlier this year as part of the Xtreme Metal Assault’s comeback lineup. The last time the band was on the XMA stage was in 2017. This shows that Rising Sunset are not merely survivors in the shifting tides of metal—they are visionaries still ascending. The band’s journey, stretching from early EP Rhema (2006) through critically noted albums like Equinox  (2012), Decretum (2016), and De Mysterium Tenebris  (2020), has culminated powerfully in Vade Draconem Maledicte . It is an album that encapsulates their evolution while drawing clear lines of continuity from their earliest days. In a scene often plagued by repetition or fleeting trends, Rising Sunset offers something rare: a consistent yet ever-deepening voice in metal’s vast and varied chorus. As Vade Draconem Maledicte  resounds through 2025, it does so with the weight and passion of a band that still has much to say—and all the fire left to say it. Rising Sunset at The Garage 22nd November 2024 durin g Vade Draconem Maledicte  album  launch gig live band photos by Maria Catania @marcail.saphir

Colourblind Returns with Explosive New Single “Jekyll & Hyde” — A Bold New Chapter Begins   After a decade-long silence, Maltese progressive rock pioneers Colourblind have returned with a powerful new single, “Jekyll & Hyde,” released today, May 24, 2025. The track marks a major milestone for the band — their first release since Timbru in 2015 — and signals the beginning of an exciting new era. “Get ready... this is raw and real and it's coming your way... and it is just the beginning,” the band announced, igniting anticipation among fans both locally and internationally. Formed in 1998 by brothers Alistair Galea (lead guitar) and Shaun Galea (drums), Colourblind quickly carved out a space in Malta’s music scene with their distinct progressive sound. Joined early on by Paul Cassar , Etienne , and Adriano , the band established a loyal following through their emotionally driven compositions and intricate arrangements. The years following the pandemic brought about a transformative period for the band. Vocalist Elisa Ellul stepped in to front the group, bringing a new energy and creative direction. In 2023, Nenad Kopanja joined on bass and backing vocals, rounding out a dynamic lineup together with  Claude Abela (rhythm guitar), who first joined the band in 1998 till 1999 and again in 2016 when Luciano Schembri (keyboards) joined as well. “Jekyll & Hyde” showcases a mature and revitalized Colourblind — balancing intensity and melody, chaos and control. With Ellul’s hauntingly powerful vocals, the track explores the duality of human nature in a raw and evocative style. Fittingly, the artwork for the single was also created by Ellul, further reflecting the band's hands-on approach to their artistic vision. This release is more than just a comeback — it’s a declaration. “Jekyll & Hyde” represents years of evolution, reinvention, and resilience. Fans can experience the song now via Colourblind’s official YouTube channel . For media inquiries, interviews, or promotional materials, please contact:  colourblind.progmalta@gmail.com Colourblind’s official YouTube channel

Dean Muscat Announces Second 'Lazarène' Gig Following Stellar Launch Performance at Offbeat photo: David Schembri Following a well-received performance at Offbeat on May 16th, local musician Dean Muscat has confirmed he will return to the intimate venue for a second show later this month. Taking to Facebook after the gig, Muscat expressed his gratitude to fans and supporters, writing, “Last Friday’s LAZARENE launch gig at Offbeat was a blast. Thank you to everyone who came out and shared such generous feedback. It truly meant a lot.” The performance marked the debut of Lazarène , Muscat's latest musical project, which features a collaboration with musician Jimmy Bartolo. The duo’s set received positive reactions from attendees, many of whom praised the show’s emotional resonance and experimental sound. Encouraged by the enthusiastic response, Muscat announced that a second performance has been scheduled for Friday, 30th May , once again at Offbeat. “Jimmy Bartolo and I will be returning for a second performance... Tickets are €10, and space is limited, so be sure to reserve your spot early,” he urged fans. Listeners can stream Lazarène  online here , while tickets for the upcoming show are available through this link . With demand expected to be high following the success of the first show, fans are advised to secure their places quickly. SoundArt Festival Malta Launches Interactive Webinar Series with Global Industry Leader SoundArt Festival Malta team is excited to announce a brand-new initiative: a three-part interactive webinar series designed to educate, inspire, and support professionals in the music and events industry. The sessions will be led by a renowned international expert, with topics shaped directly by participant input. The series will run on the following dates: 12 July, 2 August, and 13 September , offering attendees a unique opportunity to engage with high-level insights and practical guidance over the summer and into early autumn. “We’re shaping this series with you in mind — and we want to hear from you,” said the SoundArt team in their official announcement. “Think: artist development, tour management, international booking, audience building… whatever helps you grow and thrive in your role!” Organizers are currently inviting musicians, managers, promoters, and creatives from all corners of the industry to suggest topics they'd most like to explore. This participant-driven approach reflects the festival’s commitment to creating meaningful, responsive learning experiences. The webinar series is part of SoundArt Festival Malta’s wider mission to support talent development and foster collaboration within both the local and international music scenes. Further details, including registration information and speaker announcements, will be released soon. For now, the SoundArt team is encouraging the community to get involved and help shape the conversation. Beheaded Unleashes First Single “L-Kittieb” from Upcoming Album GĦADAM Maltese death metal giants Beheaded have released the first single from their forthcoming album GĦADAM , due for release on July 25th via Agonia Records. The new track, titled “L-Kittieb,” was officially announced on Thursday, May 22nd, and is now available for viewing as a cinematic music video. Described by the band as “the most crushing and emotionally charged chapter of GĦADAM ,” the single is accompanied by a visually arresting video that delves deep into themes of despair, mortality, and the inescapable nature of fate. “Our first cinematic music video is a stark visual embodiment of despair and inevitability,” the band stated. “Fejn dak li jingħata l-ħajja jibqa’ jgħix għal dejjem” — a Maltese phrase meaning "Where that which is given life remains living forever." The music video for “L-Kittieb” can be viewed here , offering fans a haunting preview of what’s to come on GĦADAM  — an album that promises to be one of Beheaded’s most ambitious and emotionally resonant works to date. With their signature blend of brutal soundscapes and evocative lyricism, Beheaded continues to push the boundaries of extreme metal, both musically and thematically. Fans and newcomers alike are eagerly counting down the days until the full release in July. Shannah Muscat Launches Melomania , a New Platform for Malta’s Underground Music Scene A fresh voice in local music journalism emerged on Thursday, May 22nd, with the launch of Melomania, a new online platform dedicated to the sounds and stories of Malta’s underground music scene. The project is the brainchild of Shannah Muscat, a student and aspiring music journalist with a passion for amplifying alternative voices. “I've just launched my long-awaited music journalism project, Melomania ,” Muscat announced. “This project means so much to me, and it's taken me a lot of work and confidence to reach this point where I can finally say, it's here.” The website debuted with an artist interview, cloud rap collective 'sry4.wav' and a personal feature highlighting Muscat’s top five tracks of the month — content she hopes will resonate with fellow music lovers and curious newcomers alike. “For anybody interested in music and the underground sound of Malta, this is for you,” she said. “Find some new favourites and learn something new.” Muscat describes Melomania  as a space for raw and honest storytelling, where she documents “the sounds, stories, and subcultures shaping the island’s alternative scene.” From behind-the-scenes moments to in-depth interviews, the platform aims to spotlight the often-unheard voices of Maltese music. With Melomania , Muscat is carving out a much-needed space for the island’s underground community — one article at a time. The website is now live at www.melomaniamalta.com .

How Tailored Music Therapy Is Boosting Dementia Care in 2025 In recent years, the power of music in healthcare has evolved from being merely anecdotal to becoming well-supported by evidence. This transformation is particularly evident in dementia care as we move into 2025.   But before we get to how music is helping, let’s linger on an increasing cause for concern: why has dementia become so common? Could it be our food — the proliferation of ultra-processed diets? Is it the plastics we consume, the pesticides sprayed over our crops, the stresses of modern life? A complex interplay of environmental and lifestyle factors is suspected by many. It’s a topic that’s really worth delving into — and one I hope to return to in a future issue. For now, let’s divert ourselves with  something positive and strong: how music is helping people to live better with dementia   The Science Behind the Sound Personalised music therapy works by stimulating areas of the brain that continue to function relatively well during the later stages of dementia. A 2024 study published in Frontiers in Neurology found that personalised playlists improved the connectivity of the medial prefrontal cortex, a region associated with memory and the sense of self. This means that music serves not only as entertainment but also as a means to help individuals reconnect with their identities.   Neuroscientists have discovered that music, particularly its rhythm and melody, engages various networks in the brain, suggesting that music may be, and I believe it truly is, a key to understanding the human brain—perhaps the most powerful key we have. The results are telling: when comparing generic music to personalised music, there are fewer behavioural issues, more moments of recognition, and a greater expression of emotions.   Listening With Care: The Role of Family and Caregivers What's most exciting about this therapy is that it is  participatory. These playlists are constructed by caregivers and families; songs from childhood, adolescence and early adulthood, replete with musical memory, are plucked from the airwaves along the way. The very activity of sitting together to listen becomes therapeutic, forging connections between then and now. As a person in music for decades, it struck a deep resonant chord. Music is a scrapbook of our lives, written in our subconscious. No wonder, then, that it can lead us back to moments we had thought lost forever.   A Tool for the Future Even as dementia rates keep rising worldwide, particularly as life expectancy grows, the incorporation of personalised music therapy into care models is a bright spot. Technology and artificial intelligence are involved too — apps that create playlists from biographical information are growing in sophistication, allowing therapists and care workers to cut out some of the legwork. But the real magic, it turns out, is in the personal. An old song sung in a familiar voice. A melody from a first dance. A hymn from childhood. For they are not mere noises, they are touchstones of identity, dignity and belonging.    For Musicians Interested in Music Therapy If you’re a musician who is motivated by this work, there are now accredited courses across the world that focus on receptive music therapy (RMT) and receptive cognitive therapy (RCT) techniques – specialist approaches that employ music listening as a therapeutic tool. Fortunately, most courses are available online and in blended formats to help you build on your musical knowledge and skills and take them out of the concert hall and into the community. It's also a rich path where your creativity can contribute to someone's healing.   Final Note Whether you are a musician, a caregiver or just someone with a loved one in the grip of memory loss, I urge you to investigate this field. Keep it simple: Make a playlist. Ask questions. Listen together. Music might not be a cure, but in 2025, it is a vital part of care. As always, you can reply to this email and share your thoughts or stories. I would love to hear how music has served a healing role in your life.   Until next week,Simon    Listen to my latest music Follow behind-the-scenes on Instagram Shop merch, vinyl & CDs melodija.eu

Damaged & Co. Launches Search for New Band Member Damaged & Co. has officially announced that they are looking to recruit a new member to fill the void left by longtime keyboardist and friend, Keith, who recently parted ways with the band. The announcement was made on the group’s official Facebook page on May 19, where they shared details of the opening and what they’re looking for in a new collaborator. “After the recent departure from the band of longtime friend and keyboardist Keith, Damaged & Co. is now on the hunt for a guitarist and keyboardist to join and complete our lineup,” the band wrote. Known for their emotionally charged performances and genre-blending sound, Damaged & Co. emphasized that they are currently in the creative phase, working on all-new material. They hope to be ready for live performances soon, with ambitions to play one to three international gigs annually. The band is looking for someone who not only has the technical skills but also the dedication to grow with them. The ideal candidate should own their own live gear, be able to travel internationally, and commit to 1–2 rehearsals per week with the rest of the band. Experience in songwriting and previous involvement with other bands will also be viewed as valuable assets. “We're building something fresh, and we want someone who’s passionate and ready to be a part of that,” said a member of the group in a follow-up message. Prospective applicants are encouraged to direct message the band or any of its members for further information. This recruitment marks a new chapter for Damaged & Co., as they prepare to expand their sound and presence on a global scale. A Black White Satellite Releases Live Album on Bandcamp A Black White Satellite has surprised fans with the release of a raw and powerful live album, now available for streaming and download on their Bandcamp page. In a candid announcement posted on May 18 via Facebook, the band poked fun at their own pace: “Admittedly, we tend to be a bit like our riffs... SLOW!”  But the wait appears to have paid off. The newly released album, recorded live at The Garage on May 13, 2022, captures the group’s gritty, high-energy performance in all its unfiltered glory. “It’s Raw, Loud & Real,” the band declared. “So head over to our Bandcamp page and download it now.” The release is being offered for free, though the band encourages listeners to donate what they can. “Any donations are welcome,” they noted, adding, “On the other hand, it would mean a lot if you help us spread the word! It only takes a minute of your time and it is absolutely free.” The live set was recorded by Steve Lombardo and mixed and mastered by Sean Attard, both of whom the band gave a “massive shout out” for helping bring the project to life. This release marks a rare update from the elusive and enigmatic outfit, whose sonic blend of psychedelia, noise, and post-rock has earned them a dedicated underground following. With this raw recording now accessible to fans worldwide, A Black White Satellite continues to do things their own way—slow, loud, and entirely on their own terms. Hanging By Threads Premieres Haunting Music Video for “Talking to Ghosts” Hanging By Threads has unleashed the official music video for their latest single, “Talking to Ghosts,” which premiered on May 16, 2025. The release marks another bold chapter in the band’s evolving sonic journey, described as a cathartic cry “against the world” while finding beauty in chaos. The track, written and produced by Chris Muscat Role', showcases the band’s emotionally-charged style, blending haunting melodies with intense lyrical introspection. “ Talking to Ghosts  feels like a confrontation with absence, a way to wrestle with the things left unsaid,” Muscat Role' said in a statement. Orchestrations and additional music were provided by Trevor Kissaun, who also mixed and mastered the track at Moon Studios. The result is a richly textured piece that layers vulnerability with defiance, a hallmark of HBT’s sound. The accompanying video—recorded, edited, and mastered by Stefan Dempster and Andre “Il-Pinzell Malti”—is a visual extension of the song’s dark atmosphere and raw energy. With stark, expressive imagery and moody cinematography, the video elevates the band’s signature intensity to new heights. Fans can stream “Talking to Ghosts” on all major platforms, including Spotify, YouTube Music, and Apple Music. The band has also invited listeners to follow their journey on Instagram at @hbtrock. Formed with the intent to "scream out against the world, while embracing the beautiful chaos it creates," Hanging By Threads continues to carve out a distinct space in Malta’s underground scene—one filled with emotion, honesty, and a refusal to look away from the shadows.

No rest for the wicked.  This year’s edition was hardly over when flashing on screen were the names of some of the acts who will be entertaining us during the 2026 edition.  Dark Malta Festival will return for it’s seventh edition at the Gianpula Village on 17, 18 and 19th April 2026.  The organisers of the gothic / industrial / metal festival have announced the participation of Das Ich , Dark , Leæther Strip , Then Comes Silence, [:SiTD:], Principe Valiente and Klutae .  More bands and DJs will be announced throughout the year.  Dark Malta Festival hosts the Malta Oskura Art Exhibition and an artisan market.      Keep abreast with the latest news on the recently launched website darkmaltafestival.com .   Tickets for 2026 are available.  Also, a selection of merch  is available from the website.

Nine years ago, in September, I celebrated my fiftieth birthday and, as is tradition, invited friends to mark the occasion — in fact, more than just a few. Among the memorable gifts I received was a CD compilation by the band New Cuorey, lovingly put together by one of the group’s two founding members. This gift, from the Grech family, remains one of my most treasured possessions. The songs on the album hold a special place in my heart, as they take me back to my childhood, when New Cuorey’s music was a constant presence on the radio in my parents’ home. With this article, I hope to pay tribute to their timeless music and enduring legacy. Joe S. Grech 2015 In September 2016, Maltese music history received a heartfelt revival with the release of New Cuorey – L-Antiki , a CD compilation of eight original tracks recorded between 1972 and 1977. Curated and produced by Joe S. Grech , co-founder of New Cuorey, the album stands as both a personal and national homage—reawakening the golden era of Maltese pop and folk music while showcasing the powerful voice of the late Sammy Bartolo , the band’s iconic frontman. The CD, which includes hits like Vietnam , Il-Bajja tal-Mellieħa , and L-Aħħar Bidwi f’Wied il-Għasel , was remastered for contemporary audio systems without altering the raw charm of the original reel-to-reel tape recordings. These songs were a staple on Maltese radio stations in the 1970s and played a key role in the musical identity of a generation. As Joe S. Grech explains, "The recording technology was nothing like today's—it was limited and not easy, but still sufficient to document the atmosphere and energy we carried at the time." Grech’s production notes highlight a particularly endearing anecdote: during the recording of Riviera Blu , which took place partly at the Mellieħa Bay Hotel and partly in his own home, the sound of a passing car was inadvertently captured around the 1:28 mark—a small flaw that now stands as a testament to the authenticity and spontaneity of the band’s process. “We had no opportunity for editing or post-production,” he recalled. “These songs… are exactly how we first played and recorded them.” Each of the eight tracks on L-Antiki  reflects the diverse musical talents of the band and the collaboration between lyricists like Anthony Fenech , Alfred C. Sant , and Paul Abela . The songwriting paints vivid scenes of Maltese life and emotion—whether it’s the poignant social commentary in Vietnam , the nostalgic beauty of Il-Bajja tal-Mellieħa , or the melancholic storytelling in L-Aħħar Bidwi f’Wied il-Għasel . Track Listing: album cover artwork by Alexia Baldacchino Vietnam (A. Fenech / J.S. Grech) The Girl I Had   (Joe Bartolo / J.S. Grech) Il-Bajja tal-Mellieħa   (A. Fenech / P. Abela, J.S. Grech) Bħal daż-Żmien Konna Flimkien   (Alf. C. Sant / P. Abela) L-Aħħar Bidwi f’Wied il-Għasel   (Alf. C. Sant / P. Abela) Riviera Blu   (A. Fenech / J.S. Grech) Id-Dgħajsa tal-Latini   (A. Fenech / J.S. Grech) Baby Where Are You Tonight   (Alf. C. Sant / P. Abela) These tracks were recorded across various studios—from Brittannia Studios in St. Julian’s to Smash Studios in Fgura—with many pressed under labels like Taurus, Deo Luck, and Sunshine Records. Notable collaborators included Charles ‘City’ Gatt  on bongos and the ever-consistent support of the band’s core musicians: Joe Bartolo on drums, Paul Abela on organ and piano, and Joe S. Grech himself on guitar and bass. Noel D'Anastas article in Il-Mument 23-10-16 The 2016 release was not merely a reissue—it was a family endeavor that bridged generations. Joe S. Grech's sons, Julian and Chris Grech , musicians in their own right (Frenzy Mono and Nomad Son), were deeply involved in the album’s research, remastering, and digital conversion. The album artwork, designed by Alexia Baldacchino , evokes the classic aesthetic of 1970s Maltese vinyl, especially the group’s famed 1974 release Il-Bajja tal-Mellieħa . The project was supported by Grech’s wife Alice , to whom he dedicated the album: “To my wife Alice, for her constant contribution and patience throughout my musical life.” Her support, along with that of their children, is etched into the spirit of this compilation. At the heart of L-Antiki  is the unforgettable voice of Sammy Bartolo , whose expressive tenor became a hallmark of New Cuorey’s sound. Bartolo passed away in 1997, yet his voice lives on—resonant, emotional, and unmistakably Maltese. The collection allows listeners to rediscover Bartolo’s rich vocals in their unedited glory, a true reflection of live musicianship and emotional connection. Founded in 1967 as I New Cuori  by Sammy Bartolo and Joe S. Grech, the band was soon renamed New Cuorey  in 1972 to enhance pronunciation abroad. Performing extensively at the Mellieħa Bay Hotel and in international venues across England and Canada, New Cuorey became synonymous with Maltese musical excellence. Their early years saw them backing international cabaret acts, further refining their style and cohesion. The group’s commitment to authentic Maltese songwriting—without pandering to commercial formulas—won them lasting admiration. Even decades later, songs like L-Aħħar Bidwi f’Wied il-Għasel were reinterpreted by artists such as Claudio Baglioni , confirming their cross-cultural and enduring relevance. L-Antiki  is more than a compilation—it’s a carefully preserved cultural artifact, a labor of memory and devotion. It captures the pulse of a Malta on the cusp of modernity, told through melodies that echo with sea breezes, village squares, and voices raised in harmony. As Joe S. Grech so eloquently puts it, “These songs, besides being the originals, are exactly how we first played and recorded them.” And it is precisely in that unfiltered honesty that their magic endures.

Festivals Malta is once again bringing tradition to life with the highly anticipated Ritmu Roots Festival 2025 —a vibrant, four-day celebration of folk music, cultural heritage, and communal storytelling. Taking place across some of Malta’s most iconic cultural venues, this year’s festival boldly bridges the gap between ancestral roots and contemporary expression. With a powerful programme steeped in Maltese identity and enriched by international collaborations, Ritmu 2025  is more than a music festival—it’s an evolving archive of tradition. Described as a space “where heritage meets innovation,” Ritmu Roots Festival 2025  champions a wide spectrum of folk traditions with a strong emphasis on Malta’s own għana —the island’s soulful and improvisational musical style. Events throughout the festival showcase everything from traditional spirtu pront  duels to modern reinterpretations by women and international artists, ensuring that the oral traditions of the past are preserved, questioned, and transformed in the present. “The aim is not only to celebrate these traditions,” say festival organizers, “but to open them up—to conversation, reinterpretation, and new generations.” The festival opens on May 21 with a thought-provoking presentation by renowned filmmaker and ethnomusicologist Vincent Moon  at The Splendid . Known for his global exploration of ritual and sound, Moon will delve into how cinema and music intertwine across cultures. His lens, both literal and figurative, captures the unseen magic of folk practices worldwide. This sets the tone for a festival that respects the roots of tradition while inviting innovation. The Art of Għana: Raw, Poetic, and Alive Central to Ritmu 2025  is the deep dive into għana , Malta’s traditional form of sung poetry. Events such as Boċċi u Għana Spirtu Pront  (May 22) at the Floriana Boċċi Club pair the vocal duels of għannejja  with the communal joy of traditional boċċi games, inviting attendees to “not just listen to tradition, but live it.” Intimate sessions such as Wiċċ Imb Wiċċ mal-Għannej  (Face to Face with the Għannej) on May 23 and 24 feature masters of the genre like Jesmond Galea ‘Tal-Kalora’  and Joe Busuttil ‘Il-Bużu’ , offering rare insights into the improvisational process. “Għana is not just singing,” says Galea, “it is thinking in rhyme—it is life in verse.” Evenings at Argotti Gardens  pulse with energy as għannejja  and guitarists engage in live duelling sessions ( Għana Ġewwa L-Argotti ), blending quick wit with poignant commentary, rhythm with tradition. Expanding the Circle: Women, Dance, and the Mediterranean This year, Ritmu  also highlights the role of women in folk traditions. Nisa, Jgħannu  (May 23) presents an all-female reinterpretation of għana , combining voice, movement, and bold storytelling in a tribute to women’s often-silenced cultural contributions. Dance takes center stage in Il-Kumittiva – Stedina għaż-Żfin!  (Invitation to Dance), a lively performance-workshop held both on May 23 and 24. Rooted in ancient carnival traditions, this interactive experience revives the communal dance rituals of Gozo, offering participants a chance to learn nine traditional dances guided by live folk music. Mediterranean Dialogues: Rebetiko and Beyond Ritmu  also casts a Mediterranean net with featured guests like Greek ensemble Pliri Ntaxei . Their concert Rebétiko!  (May 23) immerses audiences in the haunting and rebellious sounds of 1930s Greece, revived through bouzouki, baglama, and heartfelt harmonies. The accompanying talk, “You Have Me Enchanted” , explores the life of rebetiko legend Dimitris Gkogos – ‘Bagianteras’ , drawing parallels between Greek and Maltese folk traditions. Spanish duo Tarta Relena  further expand the sonic landscape with their modern a cappella explorations of sacred and secular songs from across the Mediterranean. Their performance És Pregunta (May 24) and the workshop Exploring Vocal Musical Traditions  promise to deepen the festival’s focus on vocal heritage. A Poetic Finale As the festival draws to a close on May 24, attendees will be treated to Għana tal-Fatt —a deeply emotional tradition of narrative singing that weaves tales of love, loss, and legend through lyrical storytelling. This is followed by Vincent Moon’s Live Cinéma , an immersive audio-visual performance that combines global trance rituals with Maltese soundscapes. Here, Moon collaborates with local artists to craft a live, improvised cinematic experience—"a ritual of its own," as he describes it. A Festival for All Generations Whether you're an aficionado of folk music or a curious newcomer, Ritmu Roots Festival 2025  offers a space to connect with Malta’s musical soul. Through its dynamic blend of concerts, conversations, and participatory events, the festival not only preserves tradition but animates it—ensuring its resonance for future generations. For full programme details and ticket information, visit Festivals Malta – Ritmu Roots Festival . Contact info 2334 7301 Email info.fm@festivals.mt Websites and social links http://www.festivals.mt/ritmu Instagram ritmurootsfestival

Music becomes a different experience when you start to listen like a musician. Musicians hear music differently. It’s not just background sound—it’s a map of rhythm, harmony, emotion, and expression.   Whether you’re a performer or a music lover, learning how to listen actively can change the way you experience every note.    What Does It Mean to Listen Like a Musician?   Musicians don’t just hear songs—they dissect them subconsciously. With practice, their ears begin to notice: Patterns in rhythm and groove The role of each instrument How harmony shapes emotion How phrasing tells a story   The Layers of Listening Try focusing on these elements one at a time in your favorite songs:   Bassline & Groove – What’s the bass doing? Is it locked in with the drums? Syncopated? Leading or supporting? Harmony – Are the chords bright, moody, unexpected? How do they move the song forward? Rhythm – Is the groove straight or swung? What’s the feel—tight and snappy, or laid back? Melody & Phrasing – Are the vocal lines smooth or jagged? Do they rise and fall dramatically? Tone & Texture – What kind of instruments are used? What’s their character—warm, sharp, fuzzy? Dynamics – Where are the peaks and valleys? Does the song build tension or stay steady?     A Bassist’s Perspective As a bassist, I find that even when I’m simply listening to music—at home, in the car, or on a walk—my ear is naturally drawn to the lower frequencies. I tend to zero in on the bassline and how it interacts with the drums .   I often find myself noticing: Whether the bass is locked in with the kick or playing off it How the groove shapes the feel of the whole track The movement of the harmony , even if it's subtle beneath the surface The tone and phrasing of the bass—how it's played, not just what’s played Listening this way doesn’t take away from enjoying the music—it deepens it. You start to hear how the bass supports everything, often without drawing attention to itself. It’s like following the foundations of a building while still admiring the architecture.   A Composer’s Perspective As someone who also composes music, I listen through yet another lens—one that zooms out and looks at the architecture of a piece. While the performer in me may get drawn into tone or groove, the composer in me often starts asking:   How is the form structured? Verse, chorus, bridge… or something more unusual? What’s the development like? Are ideas introduced, varied, repeated, resolved? How are dynamics and contrast used to build tension or release? What role does silence or space play in the overall feel? Are the harmonic choices conventional, or do they subvert expectation? This kind of listening helps me stay inspired, identify tools other composers use, and spark ideas for my own writing. Sometimes a subtle modulation, a well-placed rhythmic change, or an unexpected melodic turn in someone else's music can unlock a new direction in my own.     Ear-Training for Everyone   You can sharpen your musical ear with a few simple exercises:   Solo Listening : Pick a track and follow only the bassline. Then repeat, isolating drums, vocals, guitar, or strings. Loop and Focus : Loop a short section (a few bars) and focus on timing or harmonic movement. Transcribe by Ear : Try to sing back or play a simple melody or bassline you hear.    These techniques improve your concentration and deepen your appreciation for what each musician is doing.   Why It Matters   Listening like a musician isn’t just for players—it’s for anyone who wants to connect more deeply with music.   You’ll start to notice subtleties in songs you've heard for years You’ll become more emotionally engaged with the music You’ll develop a greater understanding of musical storytelling   And maybe—just maybe—you’ll fall in love with a part of the music you never noticed before.   Final Thoughts  “The more you hear, the more you feel.” Active listening is a muscle—and like any muscle, it strengthens with use. Whether you’re practicing your instrument, going to a concert, or listening with headphones at home, train your ears to hear more. It’ll make every musical experience richer.   I’d love to hear from you: Do you listen differently now than you did a few years ago? What instrument or part do you follow most when listening? Has a single musical detail ever changed how you felt about a whole song?   Hit reply and let me know—I read every message! simonsammut.com Buy Simon Sammut's music here on melodija.eu

🔊 Echoes Beyond the Void: Win bands' merch & set the vibe for the big night! 🔊Weeping Silence, Typhus & Niket 🤘🔥 🎶 Set the mood before the chaos begins! The full lineup is locked in, and the bands have joined forces to create a Spotify playlist just for you. Dive into the sounds that will shape the atmosphere on May 17th at The Garage! 🎧 Tune in now and get hyped: ⚡ https:// open.spotify.com/playlist/4plbx2HblnQ4oC7CFMTLB0 💀 Win Exclusive Band Merch! 💀 Metalheads, here’s your chance to score killer merch from Niket, Typhus, and Weeping Silence!🎁 2 Typhus T-Shirts 🎁 1 Weeping Silence Album & T-Shirt 🎁 1 Niket Album & Long-Sleeve Shirt. How to enter: 1. Like the giveaway post 2. Follow all 3 bands' pages 3. Tag 2 friends you'd bring to the gig 4. Comment your favorite song from any of the bands 5. Share the post in your stories/feed & tag the bands! 📅 Deadline: Entries close the night before the concert 🎤 Winners Revealed: Live on stage during the gig!

Claire Cordina to Launch Debut EP Do Trees Get Tired of Standing Still?  at 97 Notes, Valletta on 30th May An evening of introspective melodies and raw sonic emotion awaits music lovers on Friday, 30th May, as Claire Cordina takes the stage at 97 Notes in Valletta to launch her debut EP, Do Trees Get Tired of Standing Still? . The event starts at 8:30PM and entrance is free. Described as “an artist who never shies away from sonically confronting visceral emotion,”  Claire Cordina's distinctive blend of art-pop and trip-hop draws listeners into a dreamy yet edgy soundscape shaped by personal experience and unfiltered honesty. The EP launch will feature a full band performance with Claire Cordina on vocals, accompanied by James Baldacchino on bass, Luke Briffa on drums and electronics, and Franco Tartaglia on guitar. Opening the night is supporting act Ben Mifsud Joslin, setting the tone for a powerful and evocative musical experience. Attendees will also have the opportunity to purchase the EP in CD format. Claire Cordina’s musical journey began early, rooted in a home where music—from Italian pop to 70s rock—was always playing. “Music has been my passion from a very young age,” Claire shares. “In my teens I fell in love with alternative rock and especially connected with female singer-songwriters like Tori Amos, PJ Harvey, and Fiona Apple.” Having trained in classical guitar and music theory from the age of 7, Claire has collaborated with a wide range of local artists throughout her musical development. After time spent abroad pursuing a medical career, Claire returned to Malta in 2015 with a renewed focus on songwriting, weaving themes such as motherhood, environmental concerns, social issues, and personal introspection into her lyrics. “My songs tend to be introspective and self-analytical,” Claire explains. “I write about experiences and emotions that are deeply personal to me—things that stir me up and compel me to create.” The EP was produced and recorded by James Baldacchino, with contributions from guitarist Franco Tartaglia and drummer Luke Briffa—each of whom bring their own dynamic energy and musical depth to Claire’s hauntingly expressive compositions. Join Claire Cordina on 30th May at 97 Notes for an unforgettable night celebrating the power of vulnerability, the richness of sound, and the courage of an artist finding her voice.

Local singer-songwriter Dean Muscat to release his debut EP LAZARENE on May 16, 2025. The five-track EP features original, lyric-driven songs that draw from personal experiences, Maltese and Mediterranean themes, and a strong sense of storytelling, all woven together through Americana,folk, and rock influences. The full track listing includes: Darkness, My Muse Is Gone, Heart of the Med, Her Odyssey, and Night’s End. Produced by Jimmy Bartolo at Ultralow HQ, the EP is largely performed by the pair, with mixing by UKengineer Dan Cox (Laura Marling, Pete Doherty). Speaking about the EP, Dean says: “I’ve worked in music for many years, mostly behind the scenes, writing and producing for others. But a few years ago, I hit pause on all of it and I almost stepped away from music completely. That’s why the title LAZARENE felt right. It’s about bringing that part of me back to life." “The writing process took its time. I spent hours fine-tuning the lyrics, trying to get them to say exactly what I meant. But once the songs were ready, the recording came together fairly quickly, especially with Jimmy, who just got what I was trying to achieve and was instrumental in bringing the arrangements to life." “These songs are personal, some drawn from things I’ve lived through, others shaped by how I see life in Malta and around me today. I see them as little musical stories. I hope people connect with them,and maybe even find a bit of their own story in there too.” The EP artwork, created by Maltese illustrator Ed Dingli, weaves together the mythological and Maltese themes found in the songs. It draws inspiration from the legend of Calypso’s Cave —believed by some to be in Gozo — where Odysseus was held, longing for home. The imagery reflects the emotional thread of LAZARENE, of finding your way back to yourself after being lost. To mark the release, Dean will host a special acoustic launch gig at Offbeat Bar in Valletta on May 16. He will be joined by Jimmy, performing a selection of original songs and closing the evening with a full performance of the EP, sharing reflections and stories behind the songs. LAZARENE will be available for purchase on Bandcamp and streaming on all major platforms from May 16. Follow Dean MuscatFB: facebook.com/dsmuscatmusicBandcamp: deanmuscat.bandcamp.comContact: dsmuscat@gmail.com

Exploring the Inner World of the Performer    More goes on than meets the ear. What really goes on in a musician’s mind during a performance? Are they thinking about technique, feeling the groove, reacting to the audience, or just trying not to mess up? And how does this differ from what actors or dancers experience on stage? This week, we’re diving into the fascinating inner landscape of live performance across music, theatre, and everything in between. The Mental Balancing Act of Musicians   Flow vs focus – both have a place on stage. Studies show that during improvisation, musicians often enter a flow state —where self-monitoring fades and expression takes over. Jazz musicians, in particular, exhibit decreased activity in brain regions tied to critical thinking and increased activation in areas linked to creativity and spontaneity.   But beyond flow, musicians are constantly navigating:   Technical control Memory recall Emotional expression Interaction with fellow players It’s a complex interplay between conscious thought and muscle memory. Are Musicians’ Thoughts Different from Actors’?   Different crafts, different minds at work. While musicians remain rooted in self-expression, actors often step into entirely different identities . A study from University College London showed that actors suppress their sense of self when performing in character. They activate brain areas linked to empathy and theory of mind—essentially, becoming someone else. The Inner Critic: Doubts Behind the Curtain      Even the most confident performers face doubt. No matter the experience level, self-doubt is common among artists. A 2018 study in Europe’s Journal of Psychology found that musicians who perceive a gap between their current ability and their “ideal musical self” often experience performance anxiety. Actors, too, frequently battle impostor syndrome —the feeling that they’re undeserving of success, or one mistake away from failure. These doubts aren’t signs of weakness. They’re part of the human side of performance—the emotional tightrope walked in front of every audience. From Thought to Presence    At some point, the thinking stops and the music takes over. Great performers learn to let go of conscious control and trust the moment . Presence doesn’t mean perfection—it means connection: to the music, the character, the audience, and yourself. Some of my most memorable performances came not from thinking hard, but from feeling deeply . Final Thoughts Performance is part thought, part instinct—and always part emotion. Musicians, actors, and dancers may walk different artistic paths, but what unites them is this:A willingness to be seen, to be heard, and to be felt . I’d love to hear from you: What do you think about when you perform? Do you relate more to the mindset of a musician or an actor? Hit reply and let’s start a conversation. Reference Reading:   Flow in Musicians: An fMRI Study   Acting and Identity Suppression   Musicians’ Ideal Self and Performance Anxiety   simonsammut.com Buy Simon Sammut's music here on melodija.eu

Freddie Portelli’s Rare Vinyl Auctioned for Charity photo: Anthony D'Amato Records In a unique celebration of Maltese music and generosity, D’Amato Records has announced the auction of a rare test pressing of L-Aqwa Suċċessi , the new vinyl release by legendary artist Freddie Portelli. The auction is being held in aid of the children’s cancer support foundation, Puttinu Cares. Test pressing #1 , signed by Portelli himself, is now open for bids, with all proceeds going directly to the charity. Interested supporters are encouraged to submit their offers by email to info@puttinucares.org . “This is more than just a record – it’s a piece of Maltese cultural history,” said a spokesperson from D’Amato Records. “Only five copies of this vinyl were produced, and every single one is signed by Freddie. We’re proud to be using this moment to support such an important cause.” The vinyl compilation, L-Aqwa Suċċessi , brings together some of Portelli’s most beloved hits, including the anthemic “Viva Malta” and the enduring favorite “Mur Ħallini.” The release is being hailed as a must-have collector’s item for fans of the iconic Maltese singer-songwriter. Freddie Portelli, whose music has shaped generations, expressed his support for the initiative. “I’m honored to be part of something that not only celebrates Maltese music but also helps children and families who truly need it,” he said. The auction marks a meaningful intersection of music and charity, offering fans a rare opportunity to own a unique piece of local music history while contributing to a vital cause. Lady Lizard Announce Limited Edition Cassette Drop on May 17 Malta’s underground sludge punk force Lady Lizard  are set to unleash a limited edition cassette release  that promises to bring raw, heavy distortion straight into the hands of the boldest fans. With only 50 copies  being produced, the cassette will launch exclusively at Storeroom , one of Malta’s key alternative venues, on May 17 . “This tape is absolutely filthy,” the band said in a statement. “It’s our first-ever cassette release and we wanted to make it count — ugly, heavy, and full of fuzz.” The cassette features two tracks: the crushing “Bloat Drone” , already a cult hit among their fanbase, and a previously unheard slab of sludge titled “Swallowed by the Swamp” , described by the band as “an unreleased sonic sludge storm.” “There’s no digital release, no streaming — this is a one-time physical drop,” said a representative for Lady Lizard. “Once these 50 tapes are gone, they’re gone. First come, first crushed.” Fans attending the launch event at Storeroom on May 17  will also get a chance to check out brand new merch , available for the first time on the night. Entry is expected to be packed with die-hard followers eager to get their hands on one of the limited cassettes — and feel the full force of Lady Lizard’s signature swampy sound. “This is about keeping it raw and real,” the band added. “We’re inviting everyone to roll up, grab a copy, and feel the swamp rise .” ‘Gig Għal Gżira’ at Storeroom to Raise Funds for Manoel Island National Park Campaign Music, activism, and community will collide this month at ‘Gig Għal Gżira – Manoel Island Post Għalina’ , a one-night fundraising concert held at Storeroom in Ta’ Xbiex  on Sunday, May 18 , aimed at reigniting public attention on the future of Manoel Island . Organised by the grassroots movement Manoel Island Post Għalina , the event will feature performances by three of Malta’s beloved alternative acts: Eyes to Argus , Karmaġenn (solo) , and Marie Claire  — all of whom are offering their talents voluntarily in support of the campaign. “This isn’t just a gig — it’s a call to action,” said a campaign spokesperson. “The current concession on Manoel Island is under renegotiation, and we believe this is the right moment to push for a different vision: one that serves the public, not private developers.” The Manoel Island Post Għalina  campaign is calling for the transformation of the island into a national park , instead of the originally proposed private luxury development. The renegotiation of the concession between the Maltese government and MIDI plc  has reopened the door for meaningful public input. “All proceeds from this event will go directly back into the campaign,” organisers confirmed. “This includes materials, outreach, and legal efforts — all essential to making sure the people’s voice is heard.” Tickets for the event are priced at €10  and can be purchased through Fienta . Entry is open to all, with the first notes kicking off around 9 PM . Storeroom, a familiar space to fans of Malta’s alternative music scene, has long supported grassroots movements. “It’s an honour to once again host musicians and audiences united by a common cause,” said a venue representative. “This is what community spaces are for.” For more information about the campaign and how to support, visit www.manoelislandcampaign.com .

🎸 Rock for a Cause: “Pawsome Sunday” Charity Gig to Shake Up The Garage, Żebbuġ! 🐾 Get ready to turn up the volume for a worthy cause! On Sunday, 18th May , The Garage in Żebbuġ will host “Pawsome Sunday” , a high-energy charity rock and metal gig dedicated to raising funds for two incredible local animal sanctuaries. Doors open at 2:30 PM , with live performances kicking off at 3:00 PM sharp . The event will showcase an electrifying lineup of three Maltese bands, each bringing their unique sound to the stage: 🎤 Sad Pancake  – Kicking off the show with their signature blend of heavy riffs and heartfelt lyrics ⚡ Rankin  – Dialing up the intensity with a powerhouse set 🔥 Ever Obscure  – Making their debut performance  and closing out the event with a bang Entrance is a €10 donation , with 100% of the proceeds  going directly to support the incredible work of: 🐶 Association for Abandoned Animals (AAA) 🐱 Carers for Stray and Abandoned Felines (CSAF) “Pawsome Sunday”  is more than just a gig – it’s a call to action for the local rock and metal community to come together in support of animal welfare. Whether you're a fan of gritty guitars, killer vocals, or just want to spend your Sunday doing something meaningful, this event promises big sound, good vibes, and a whole lot of heart . Don’t miss out on this chance to rock out and help out.See you at The Garage on May 18th! For the latest updates and information visit the event page on Facebook

Greek Metal Titans TYPHUS Unleash New Single “Only Ashes Remain” Ahead of Echoes Beyond the Void  Performance Greek speed/thrash metal outfit Typhus  have released their scorching new single “Only Ashes Remain” , available now on all major streaming platforms. The track marks the second single from the band’s forthcoming sophomore album, and its release arrives just ahead of their highly anticipated appearance at Echoes Beyond the Void , set for Saturday 17th May  at The Garage . Melding traditional metal power with sweeping orchestral layers, “Only Ashes Remain”  dives deep into dark fantasy themes inspired by The Witcher  universe—delivering a sound that’s heavier, more melodic, and more epic than ever. The song follows their March 2025 comeback single and showcases Typhus’s creative evolution since their explosive debut Mass Produced Perfection  (Punishment 18 Records, 2020). “We are very proud to unveil our second single ‘Only Ashes Remain’—and it’s more menacing than ever,” says guitarist Kostas Foukarakis . “We channelled our love of classic heavy metal and The Witcher ’s storytelling into something heavier, more melodic, and truly epic.” “Only Ashes Remain”  marks a significant milestone in Typhus’s artistic evolution, expanding the lore-driven direction of their upcoming album with richly thematic storytelling. The track blends symphonic grandeur with their trademark thrash-speed aggression, introducing a new orchestral edge to their sound. As the band’s first major release since their 2020 debut, it offers a tantalizing glimpse of what fans can expect from their long-awaited sophomore record. Listeners will also get a chance to experience the new material live when Typhus takes the stage at Echoes Beyond the Void  on 17th May. Watch the official visualiser here . Pre-save the track:   https://found.ee/typhus_onlyashesremain Typhus joins Weeping Silence  and Niket  for Echoes Beyond the Void , where Weeping Silence will also debut new drummer Daniel Aquilina . The event promises a night of dark energy and heavy catharsis—an essential stop for fans of the genre.