Beheaded, a Maltese death metal band recognized for their contributions to extreme music since 1991, has announced their seventh studio album, ‘Għadam,’ set for release on July 25, 2025, through Agonia Records. Notably, this forthcoming record represents a significant artistic shift for the band, being the first death metal album composed entirely in the Maltese language, reflecting their deep cultural roots.

Coinciding with this announcement, Beheaded released a music video on May 22, 2025, for ‘Il-Kittieb,’ the lead single from ‘Għadam.’ The video, directed by Raul Noise, visually articulates the album’s focus on Maltese folklore and horror literature, providing audiences an initial insight into the themes explored throughout the record.

This release arrives at a notable moment in Beheaded’s career, highlighting their ongoing relevance within international death metal circles and Agonia Records’ strategic positioning as a prominent label supporting culturally distinctive metal music. With ‘Għadam,’ the band aims to bridge cultural heritage and genre innovation, anticipating wider recognition both locally and globally upon its official release.

Integrating Maltese Heritage into Metal

Beheaded’s forthcoming studio album, ‘Għadam,’ stands as the first death metal record composed entirely in Maltese, marking a significant cultural milestone within both the band’s history and the broader metal genre. Scheduled for release on July 25, 2025, via Agonia Records, ‘Għadam’ not only showcases the band’s artistic ambition but also highlights a deliberate integration of national identity into their music. This creative direction positions Beheaded distinctively within the international metal scene, offering listeners an authentic exploration of Maltese heritage through an extreme musical lens.

In creating ‘Għadam,’ Beheaded drew heavily upon Malta’s rich tradition of horror literature, specifically citing the influential works of author Anton Grasso. Grasso’s narratives, renowned for their unsettling blend of folklore, history, and supernatural elements, provide a foundational inspiration for the album’s thematic composition. The alignment of death metal’s sonic intensity with Grasso’s literary visions allows Beheaded to articulate a unique expression of Maltese culture, placing the band at the intersection of literary storytelling and extreme music.

Furthermore, ‘Għadam’ prominently integrates elements of Maltese folklore, religious symbolism, and traditional musical influences, establishing a textured and culturally resonant backdrop to the album. The deliberate use of indigenous motifs and instrumentation—such as the traditional handmade harp guitar featured prominently on the track ‘Irmied’—reinforces the band’s authentic cultural engagement. By weaving these elements directly into their compositions, Beheaded affirms their role in reshaping how national identity can be communicated within a genre conventionally dominated by universal themes and English-language lyrics, enhancing both the cultural significance and artistic depth of the release.

‘Għadam’: The New Album

The creation of Beheaded’s forthcoming album, ‘Għadam,’ involved an intricate production process at MR2 Recording Studios in Italy, led by renowned producer and engineer Davide Billia. Known for his meticulous approach, Billia oversaw both recording and mixing, ensuring the album’s sound aligns precisely with the band’s ambitious artistic vision. The production techniques employed at MR2 contributed significantly to achieving a clear yet powerful auditory experience consistent with the rigorous demands of death metal.

A notable feature of ‘Għadam’ lies in its strategic use of analog synthesizers, engineered by Nicolò Brambilla at Echoes Studio, also located in Italy. Brambilla’s expertise brought a distinctive tonal character to the album, complementing the genre’s traditional instrumentation with carefully layered synthesizer textures. This fusion of analog technology and conventional metal instrumentation has provided a nuanced depth to the album’s sonic architecture, distinguishing ‘Għadam’ within contemporary metal releases.

Moreover, the track ‘Irmied’ incorporates unique local instrumentation, highlighting Beheaded’s dedication to cultural authenticity. Recorded at Railway Studios in Malta, the song features musician Simone Brigo performing on a handmade harp guitar crafted by Maltese luthier Josef Camilleri of Cross Guitar Work. The decision to include this instrument underscores the band’s deliberate choice to infuse traditional Maltese elements within the broader framework of the album. Completing the album’s production, Wojtek Wiesławski at Hertz Studio in Poland mastered ‘Għadam,’ enhancing its audio clarity and coherence. The visual dimension of the release—characterized by the photography of Raffaele Montepaone and layout design by Davide Billia—further anchors the album’s thematic unity and cultural narrative.

The Release of the ‘Il-Kittieb’ Music Video

On May 22, 2025, Beheaded released the music video ‘Il-Kittieb,’ directed by Raul Noise, serving as the lead single from their upcoming album, ‘Għadam.’ The video provides a compelling introduction to the album’s overarching themes by visually interpreting narratives deeply rooted in Maltese horror literature and folklore. By combining evocative imagery and thoughtful narrative structure, the band effectively translates complex literary inspirations into a visually coherent piece.

The visual presentation of ‘Il-Kittieb’ prominently incorporates motifs drawn from Maltese cultural traditions, especially those related to supernatural elements found in local storytelling. The video’s detailed attention to authentic cultural representation creates a vivid, unsettling atmosphere consistent with the literary style of author Anton Grasso, whose works significantly influenced the album. Through careful cinematography and narrative pacing, the video emphasizes the darker aspects of Maltese folklore, adding dimension and depth to the song’s lyrical content.

Initial audience responses to the release of ‘Il-Kittieb’ have highlighted appreciation for the video’s production quality and its faithful representation of Maltese cultural elements. Viewers have noted the effectiveness of the band’s approach in visually articulating themes typically confined to literary and oral traditions. This reception suggests that Beheaded’s strategic visual storytelling successfully enhances listener engagement by providing a clear, accessible entry point into the culturally resonant narrative of ‘Għadam.’

Upcoming Performances and Tours

Following the anticipated release of ‘Għadam,’ Beheaded is preparing a series of international performances designed to introduce the album directly to global audiences. The band is confirmed to appear at the Gothoom Festival in Slovakia on August 29, 2025, marking their initial live showcase of the new material. This event offers a platform for the band to engage extensively with the European metal community, highlighting both the album’s innovative cultural approach and Beheaded’s enduring presence within the genre.

Additionally, Beheaded will headline performances in the United States of America as part of Mutilated Fest, scheduled to take place in Brooklyn, New York, from October 16 to 18, 2025. These appearances represent a critical opportunity for the band to expand their reach within the North American metal scene, directly connecting the culturally unique content of ‘Għadam’ with diverse international audiences. The band’s active touring schedule illustrates their strategic effort to broaden visibility and deepen listener appreciation beyond their existing fanbase.

To effectively translate ‘Għadam’s’ distinct studio production into live settings, Beheaded has carefully adapted elements of the album’s instrumentation and narrative themes for stage performance. Audiences can expect an immersive representation of the album’s cultural and sonic intricacies, enhanced by carefully curated visuals and stagecraft. These efforts underline the band’s intention to create memorable live experiences that faithfully reflect the complexity and authenticity that define ‘Għadam.’

Anticipating the Cultural Impact of ‘Għadam’

With ‘Għadam,’ Beheaded introduces a rare instance of national language and cultural heritage within the global death metal genre. By composing the album entirely in Maltese and drawing from local folklore and horror literature, the band has created a work that distinguishes itself not only through musical execution but also through its cultural specificity. This approach places Beheaded in a distinct position within the international metal community, where English-language dominance has often shaped artistic visibility and reception.

The integration of national identity into a genre known for its transnational themes raises broader considerations about how cultural narratives can be represented in extreme music. For Malta, a country with a relatively small population and limited presence in global entertainment, the release of ‘Għadam’ may prompt renewed interest in how local traditions and language intersect with global subcultures. Within the international music industry, the album has the potential to challenge prevailing assumptions about linguistic accessibility and market reach, offering a model for culturally embedded metal releases that do not conform to conventional norms.

As anticipation builds ahead of the album’s official release, early responses to the single ‘Il-Kittieb’ and associated promotional content suggest a growing interest in Beheaded’s direction. Reactions from audiences and commentators have indicated that the band’s efforts to engage deeply with their national context are being recognized as a serious artistic undertaking. While the full extent of the album’s reception remains to be seen, the groundwork laid by the band and Agonia Records points to an outcome that could broaden both artistic and cultural conversations within the international metal circuit.

Visual and Editorial Contributors to ‘Għadam’

The visual composition of Beheaded’s upcoming album was developed in close collaboration with photographer Raffaele Montepaone and designer Davide Billia. Montepaone, whose photographic work often explores mortality and corporeality through stark monochromatic imagery, was responsible for the album’s cover art. His aesthetic sensibility aligns closely with the themes addressed in ‘Għadam,’ reinforcing the album’s engagement with horror, decay, and spiritual symbolism drawn from Maltese folklore.

Montepaone’s work on the cover presents a deliberate visual counterpart to the album’s sonic and narrative elements. The imagery avoids abstraction in favour of clarity and confrontation, consistent with both the genre’s conventions and the album’s specific cultural framework. While the photograph stands on its own as a work of portraiture, its inclusion in the album package situates it within a larger interpretive system shaped by Beheaded’s musical and literary references.

The accompanying layout, designed by producer and visual artist Davide Billia, supports both physical and digital formats of the release. Billia’s approach to sequencing, typography, and compositional structure ensures that the visual design maintains coherence across all editions of the album, including jewel case CDs, vinyl, cassettes, and limited-edition box sets. This editorial consistency aids in presenting ‘Għadam’ not only as an auditory experience but also as a cultural artifact, aligning the visual components with the album’s broader thematic and linguistic intentions.

Conclusion

With ‘Għadam’, Beheaded enters a distinctive phase in their career, presenting a body of work rooted in linguistic specificity and cultural reference that positions them apart from prevailing trends in extreme metal. By integrating elements of Maltese folklore and language into the structure of a traditionally international genre, the band has expanded the scope of how death metal can function as a medium for localized expression.

As listeners engage with the album and its accompanying material, reflections on how such efforts resonate across audiences—particularly those familiar with Beheaded’s earlier releases or cultural context—may offer a broader understanding of the release’s significance in shaping new directions within the genre. Readers are invited to share recollections, observations, or experiences related to Beheaded’s work, especially in relation to the release of ‘Għadam.’