#devin-townsend — Public Fediverse posts

Sky Blue - Devin Townsend https://musiccloud.io/WYH9l

#DevinTownsend #Music #Annekevangiersbergen

Sky Blue - Devin Townsend https://musiccloud.io/WYH9l

#DevinTownsend #Music #Annekevangiersbergen

Of all metal’s subgenres, doom remains one of the most welcoming to outside influences, often stretching its boundaries past lethargic, downtuned tempos of despair and dread. Spanish duo TodoMal1 embody that openness completely, drawing from a wide spectrum of styles to shape their unique blend of progressive doom. Formed by multi‑instrumentalists Christopher B. Wildman (Jade (live), ex-Asgaroth) and composer/producer Javier Fernández Milla (ex-Asgaroth), Ultracrepidarian (2021) and With a Greater Good (2023) pushed at the edges of classic doom with a big, cinematic approach rooted in the grandeur of Candlemass and the cosmic blues of Pink Floyd. Graveyards of Joy, their third record, closes the trilogy and marks their first expansion into a five-piece recording and live ensemble, joined by drummer Javier “Bud” Martínez (Jade), guitarist Javier Félez (ex-Teitanblood), and vocalist/keyboardist Cecilia Tallo (ex-Maud the Moth). And their contributions help unlock TodoMal’s most ambitious and articulate record to date.

Graveyards of Joy finds TodoMal pushing their sound into more progressive territories, with their immersive strain of atmospheric doom feeling far more melodic and balanced than their previous work. Juxtaposing processional tones with airy, luminous passages in a way that resists categorization, each song on Graveyards of Joy is incredibly dense yet no less urgent. “Mare Ignis” could have come straight from a Devin Townsend record, elevated by an expressive, gothic shimmer and reverb-drenched textures, while “Misericordiah” offers a moment of pure acoustic beauty before “Unholy” snaps back with brooding gothic rock heaviness and bright, pop-minded sensibility. Tallo’s lush choral backdrops (“Mare Ignis”), coupled with orchestral elements like horns (“Point of Coalescence,” “Mare Ignis”), violins (“Misericordiah”), Hammond-esque synths (“For Mercy”) and piano (“Graveyards of Joy,” “Lucid Nightmare”), create soaring, hook-laden melodies with an ethereal, dreamlike quality that lets the heavily layered arrangements feel deceptively lighter than they are, even in the face of Martinez’s thunderous drums, Felez’s chunky riffing and the record’s saturating production.

TodoMal excel at balancing darkness and light, constantly offsetting heaviness with melody and atmosphere. “Lucid Nightmare” leans into melodic allure without losing heft, pairing resonant guitars with Tallo’s bright piano and choral layers, while “Point of Coalescence” contrasts ominous horns and crushing riffs against airy vocals that keep the song from ever feeling too oppressive. The guitar work on Graveyards of Joy favors big, expressive solos and memorable phrasing, emphasizing emotional lift over technicality and adding another dimension to TodoMal’s cinematic, textured identity. “Deliverance” delivers the record’s most dynamic moment, moving from delicate acoustics into a massive, emotional swell, while “Humanised Gods” distills their approach into a punchy, hook- and synth-laden standout. Across Graveyards of Joy, TodoMal uses melody, orchestration, and texture to let the material surface for air before pulling you back into its darker depths.

Wildman’s vocal performance is one of Graveyards of Joy’s defining highlights, channeling a tone that lands somewhere between Jón Aldará’s (Iotunn, Barren Earth) soaring melodicism and Robert Smith’s (The Cure) emotive, gothic inflection. Instead of leaning into brutality, Wildman avoids growling entirely, opting for an indie-tinged, gothic rock delivery that softens and reshapes TodoMal’s traditional doom foundation. “For Mercy” evidences the full reach of his character, with an untethered vocal line floating above an upbeat acoustic guitar that initially feels awkward but quickly captures my admiration with its off-kilter charm. The track recalls the Violent Femmes in many respects and shows the breadth of the group’s influences. The duo also leans heavily on background harmonies and choral passages to amplify the material’s emotional weight, creating a soundscape that reveals new nuances with each listen. The production reinforces this, feeling enveloping and bright, and the concise runtime—aside from the sprawling “Deliverance” and the similarly lengthy closer—ultimately strengthens the record’s pacing.

Graveyards of Joy pulls all of its many ingredients into a layered, multifaceted whole that grows more rewarding with every listen. TodoMal’s twist on doom may feel occasionally strange, but it’s insanely stylish and unmistakably their own. It’s the kind of take that makes genre labels feel irrelevant because there is no denying this is simply great music. A couple of longer tracks could stand a trim, and a few endings land a bit abruptly, but those small quibbles fade quickly. What stays with you instead is the album’s accessibility, scope, and immensity. TodoMal may mean “all wrong,” yet Graveyards of Joy is anything but.

Rating: Great!
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Season of Mist
Websites: todomalband.bandcamp.com | facebook.com/todomalofficial
Releases Worldwide: July 3rd, 2026

Of all metal’s subgenres, doom remains one of the most welcoming to outside influences, often stretching its boundaries past lethargic, downtuned tempos of despair and dread. Spanish duo TodoMal1 embody that openness completely, drawing from a wide spectrum of styles to shape their unique blend of progressive doom. Formed by multi‑instrumentalists Christopher B. Wildman (Jade (live), ex-Asgaroth) and composer/producer Javier Fernández Milla (ex-Asgaroth), Ultracrepidarian (2021) and With a Greater Good (2023) pushed at the edges of classic doom with a big, cinematic approach rooted in the grandeur of Candlemass and the cosmic blues of Pink Floyd. Graveyards of Joy, their third record, closes the trilogy and marks their first expansion into a five-piece recording and live ensemble, joined by drummer Javier “Bud” Martínez (Jade), guitarist Javier Félez (ex-Teitanblood), and vocalist/keyboardist Cecilia Tallo (ex-Maud the Moth). And their contributions help unlock TodoMal’s most ambitious and articulate record to date.

Graveyards of Joy finds TodoMal pushing their sound into more progressive territories, with their immersive strain of atmospheric doom feeling far more melodic and balanced than their previous work. Juxtaposing processional tones with airy, luminous passages in a way that resists categorization, each song on Graveyards of Joy is incredibly dense yet no less urgent. “Mare Ignis” could have come straight from a Devin Townsend record, elevated by an expressive, gothic shimmer and reverb-drenched textures, while “Misericordiah” offers a moment of pure acoustic beauty before “Unholy” snaps back with brooding gothic rock heaviness and bright, pop-minded sensibility. Tallo’s lush choral backdrops (“Mare Ignis”), coupled with orchestral elements like horns (“Point of Coalescence,” “Mare Ignis”), violins (“Misericordiah”), Hammond-esque synths (“For Mercy”) and piano (“Graveyards of Joy,” “Lucid Nightmare”), create soaring, hook-laden melodies with an ethereal, dreamlike quality that lets the heavily layered arrangements feel deceptively lighter than they are, even in the face of Martinez’s thunderous drums, Felez’s chunky riffing and the record’s saturating production.

TodoMal excel at balancing darkness and light, constantly offsetting heaviness with melody and atmosphere. “Lucid Nightmare” leans into melodic allure without losing heft, pairing resonant guitars with Tallo’s bright piano and choral layers, while “Point of Coalescence” contrasts ominous horns and crushing riffs against airy vocals that keep the song from ever feeling too oppressive. The guitar work on Graveyards of Joy favors big, expressive solos and memorable phrasing, emphasizing emotional lift over technicality and adding another dimension to TodoMal’s cinematic, textured identity. “Deliverance” delivers the record’s most dynamic moment, moving from delicate acoustics into a massive, emotional swell, while “Humanised Gods” distills their approach into a punchy, hook- and synth-laden standout. Across Graveyards of Joy, TodoMal uses melody, orchestration, and texture to let the material surface for air before pulling you back into its darker depths.

Wildman’s vocal performance is one of Graveyards of Joy’s defining highlights, channeling a tone that lands somewhere between Jón Aldará’s (Iotunn, Barren Earth) soaring melodicism and Robert Smith’s (The Cure) emotive, gothic inflection. Instead of leaning into brutality, Wildman avoids growling entirely, opting for an indie-tinged, gothic rock delivery that softens and reshapes TodoMal’s traditional doom foundation. “For Mercy” evidences the full reach of his character, with an untethered vocal line floating above an upbeat acoustic guitar that initially feels awkward but quickly captures my admiration with its off-kilter charm. The track recalls the Violent Femmes in many respects and shows the breadth of the group’s influences. The duo also leans heavily on background harmonies and choral passages to amplify the material’s emotional weight, creating a soundscape that reveals new nuances with each listen. The production reinforces this, feeling enveloping and bright, and the concise runtime—aside from the sprawling “Deliverance” and the similarly lengthy closer—ultimately strengthens the record’s pacing.

Graveyards of Joy pulls all of its many ingredients into a layered, multifaceted whole that grows more rewarding with every listen. TodoMal’s twist on doom may feel occasionally strange, but it’s insanely stylish and unmistakably their own. It’s the kind of take that makes genre labels feel irrelevant because there is no denying this is simply great music. A couple of longer tracks could stand a trim, and a few endings land a bit abruptly, but those small quibbles fade quickly. What stays with you instead is the album’s accessibility, scope, and immensity. TodoMal may mean “all wrong,” yet Graveyards of Joy is anything but.

Rating: Great!
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Season of Mist
Websites: todomalband.bandcamp.com | facebook.com/todomalofficial
Releases Worldwide: July 3rd, 2026

Picked up The Moth from the post office today.

#DevinTownsend

Not every Heavy Devy song hits for me, but damn this is a great one. Super dynamic in range and the orchestra takes it to another level.

https://www.youtube.com/watch?si=oXx9rKvD9fY9uWfe&v=xZ4x6Uo8nss&feature=youtu.be

#Metal #DevinTownsend

Not every Heavy Devy song hits for me, but damn this is a great one. Super dynamic in range and the orchestra takes it to another level.

https://www.youtube.com/watch?si=oXx9rKvD9fY9uWfe&v=xZ4x6Uo8nss&feature=youtu.be

#Metal #DevinTownsend

🤔🤔🤔
#DevinTownsend UK and EU tour in autumn

https://hevydevy.com/tour-dates/
#MarkthalleHamburg is listed as seated, too.

#GeriatricMetal #MetalheadConcerts

🤔🤔🤔
#DevinTownsend UK and EU tour in autumn

https://hevydevy.com/tour-dates/
#MarkthalleHamburg is listed as seated, too.

#GeriatricMetal #MetalheadConcerts

A wild little waterfall named Dimforsen at the Vildmarksvägen near Stalon, Sweden

Song
Artist: Devin Townsend
Title: Spirits will colide

#sweden #schweden #waterfall #wasserfall #Vildmarksvägen #dimforsen #outdoorliving #peace #innerbalance #travel #Natur #nature #trekking #hiking #freedom #freiheit #wandern #outdoor #frieden #travelphotography #intothewild #devintownsend
https://www.instagram.com/reel/DZkPjZtIFnN/?igsh=MXJkdTBlZHN5cG53eg==

A wild little waterfall named Dimforsen at the Vildmarksvägen near Stalon, Sweden

Song
Artist: Devin Townsend
Title: Spirits will colide

#sweden #schweden #waterfall #wasserfall #Vildmarksvägen #dimforsen #outdoorliving #peace #innerbalance #travel #Natur #nature #trekking #hiking #freedom #freiheit #wandern #outdoor #frieden #travelphotography #intothewild #devintownsend
https://www.instagram.com/reel/DZkPjZtIFnN/?igsh=MXJkdTBlZHN5cG53eg==

#DevinTownsend's new album #TheMoth is out today. Deluxe Edition consists of the studio version and the raw orchestra & choir performance ("The Afterlife"). I saw the live debut performance last year on livestream and though I liked it back then already, with proper mixing it sounds absolutely phenomenal.

#DevinTownsend's new album #TheMoth is out today. Deluxe Edition consists of the studio version and the raw orchestra & choir performance ("The Afterlife"). I saw the live debut performance last year on livestream and though I liked it back then already, with proper mixing it sounds absolutely phenomenal.

DEVIN TOWNSEND (Canadà) presenta nou àlbum: "The Moth" #DevinTownsend #ProgressiveMetal #Rock #Ambient #Maig2026 #Canadà #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

The lesson? Never make fun of a bald man because you may just end up being that bald man in 10-30 years. 👨‍🦲

I'm hoping my lack of jest toward guys with thinning hair will earn me a future of hair. I've made it to 30 and still have a full head with no signs of baldness :guilded_notsureif:

https://youtu.be/83WaFFyFMuQ

#comedy #humor #Hair #metal #DevinTownsend

The lesson? Never make fun of a bald man because you may just end up being that bald man in 10-30 years. 👨‍🦲

I'm hoping my lack of jest toward guys with thinning hair will earn me a future of hair. I've made it to 30 and still have a full head with no signs of baldness :guilded_notsureif:

https://youtu.be/83WaFFyFMuQ

#comedy #humor #Hair #metal #DevinTownsend

Certified early 90s classic. Devin Townsend is best known for Strapping Young Lad and his solo work, but this album was the start of his career and is still a joy to listen to!

https://www.youtube.com/watch?v=GbiQNM0HrrI

#90s #rock #music #DevinTownsend #guitar #vibe

Höre gerade das preview von #devintownsend s #themoth und ich spüre harte #ziltoidtheomniscient vibes

❤️