#violent-femmes — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #violent-femmes, aggregated by home.social.
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🔴 LIVE NOW ON VORTEX
📻 Vortex WaveSpiral 🌀 (Post Punk & Classical New Wave)
──────────────
🎵 Violent Femmes - Blister In The Sun▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE -
🔴 LIVE NOW ON VORTEX
📻 Vortex WaveSpiral 🌀 (Post Punk & Classical New Wave)
──────────────
🎵 Violent Femmes - Blister In The Sun▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE -
If you like #punkrock and/or the #violentfemmes I'm really enjoying this concert from 2024 with the Violent Femmes and the Milwaukee Symphony:
https://urbanmilwaukee.com/pressrelease/violent-femmes-40th-anniversary-with-the-milwaukee-symphony-to-air-nationally-on-pbs-december-2024/It aired on PBS, and you may find it on streaming services today 🤘
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If you like #punkrock and/or the #violentfemmes I'm really enjoying this concert from 2024 with the Violent Femmes and the Milwaukee Symphony:
https://urbanmilwaukee.com/pressrelease/violent-femmes-40th-anniversary-with-the-milwaukee-symphony-to-air-nationally-on-pbs-december-2024/It aired on PBS, and you may find it on streaming services today 🤘
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If you like #punkrock and/or the #violentfemmes I'm really enjoying this concert from 2024 with the Violent Femmes and the Milwaukee Symphony:
https://urbanmilwaukee.com/pressrelease/violent-femmes-40th-anniversary-with-the-milwaukee-symphony-to-air-nationally-on-pbs-december-2024/It aired on PBS, and you may find it on streaming services today 🤘
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If you like #punkrock and/or the #violentfemmes I'm really enjoying this concert from 2024 with the Violent Femmes and the Milwaukee Symphony:
https://urbanmilwaukee.com/pressrelease/violent-femmes-40th-anniversary-with-the-milwaukee-symphony-to-air-nationally-on-pbs-december-2024/It aired on PBS, and you may find it on streaming services today 🤘
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🔴 LIVE NOW ON VORTEX
📻 Vortex Sessions 🎧 (Indie pop, synth-pop, alternative rock)
──────────────
🎵 Violent Femmes - Blister In The Sun▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE -
A look back at last weekend's 45th anniversary tour stop for #ViolentFemmes at #SternGrove in #SanFrancisco where at least 10,000 fans lined the redwood & eucalyptus tree dotted hillside to soak up the sounds.
#GordonGano and his onstage collaborators included band co-founding bassist Brian Ritchie, former 90s era child #SoapOpera actor Blaise Garza on horns, plus tUnE-yArDs front woman Merrill Garbus from Oaktown were all helping out onstage on this early 80's era college rawk classic #GoneDaddyGone
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A look back at last weekend's 45th anniversary tour stop for #ViolentFemmes at #SternGrove in #SanFrancisco where at least 10,000 fans lined the redwood & eucalyptus tree dotted hillside to soak up the sounds.
#GordonGano and his onstage collaborators included band co-founding bassist Brian Ritchie, former 90s era child #SoapOpera actor Blaise Garza on horns, plus tUnE-yArDs front woman Merrill Garbus from Oaktown were all helping out onstage on this early 80's era college rawk classic #GoneDaddyGone
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https://www.europesays.com/ie/616543/ Australia’s Indie Music Venues Closing as Costs Rise and Attendance Drops #Australia #BarsAndNightclubs #Éire #Entertainment #IE #Ireland #Music #PopAndRockMusic #Sydney(Australia) #ViolentFemmes
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After finishing a 4 night stand at a 1600 capacity venue in #LA, #ViolentFemmes coming up to #SF and play outdoors this weekend at #free gig is a chance to celebrate quirky band's 45th year since being discovered busking outside a Pretenders gig in hometown #Milwaukee ...
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After finishing a 4 night stand at a 1600 capacity venue in #LA, #ViolentFemmes coming up to #SF and play outdoors this weekend at #free gig is a chance to celebrate quirky band's 45th year since being discovered busking outside a Pretenders gig in hometown #Milwaukee ...
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#AlternateFridayMusic
July 31 2026This time, we're #BreakingUp
...no, no, it's not you, it's me, and my fellow hashtagger(s?) who came up with this one.Violent Femmes, “Breakin’ Up”
Talk about stripped-down sound - on stage, original #ViolentFemmes drummer Victor DeLorenzo would stand and play a single snare drum. He’d been replaced in the band by Guy Hoffman by the time this track was recorded for official release on the album “New Times,” and you’ll see him in the official video sitting at a proper drum set (using it ever so sparingly), but I prefer the demo version that was recorded with the original band in 1981 (released on the 2002 40th Anniversary edition of their debut eponymous album), before those big #FolkPunk bucks rolled in and financed all that over-the-top 90s schmaltz. 🧐
“Breakin’ Up" official video, featured below:
https://www.youtube.com/watch?v=7WNpEQ_3Vfgvs. the demo at https://violentfemmes.bandcamp.com/track/breakin-up-demo
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#AlternateFridayMusic
July 31 2026This time, we're #BreakingUp
...no, no, it's not you, it's me, and my fellow hashtagger(s?) who came up with this one.Violent Femmes, “Breakin’ Up”
Talk about stripped-down sound - on stage, original #ViolentFemmes drummer Victor DeLorenzo would stand and play a single snare drum. He’d been replaced in the band by Guy Hoffman by the time this track was recorded for official release on the album “New Times,” and you’ll see him in the official video sitting at a proper drum set (using it ever so sparingly), but I prefer the demo version that was recorded with the original band in 1981 (released on the 2002 40th Anniversary edition of their debut eponymous album), before those big #FolkPunk bucks rolled in and financed all that over-the-top 90s schmaltz. 🧐
“Breakin’ Up" official video, featured below:
https://www.youtube.com/watch?v=7WNpEQ_3Vfgvs. the demo at https://violentfemmes.bandcamp.com/track/breakin-up-demo
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#AlternateFridayMusic
July 31 2026This time, we're #BreakingUp
...no, no, it's not you, it's me, and my fellow hashtagger(s?) who came up with this one.Violent Femmes, “Breakin’ Up”
Talk about stripped-down sound - on stage, original #ViolentFemmes drummer Victor DeLorenzo would stand and play a single snare drum. He’d been replaced in the band by Guy Hoffman by the time this track was recorded for official release on the album “New Times,” and you’ll see him in the official video sitting at a proper drum set (using it ever so sparingly), but I prefer the demo version that was recorded with the original band in 1981 (released on the 2002 40th Anniversary edition of their debut eponymous album), before those big #FolkPunk bucks rolled in and financed all that over-the-top 90s schmaltz. 🧐
“Breakin’ Up" official video, featured below:
https://www.youtube.com/watch?v=7WNpEQ_3Vfgvs. the demo at https://violentfemmes.bandcamp.com/track/breakin-up-demo
-
#AlternateFridayMusic
July 31 2026This time, we're #BreakingUp
...no, no, it's not you, it's me, and my fellow hashtagger(s?) who came up with this one.Violent Femmes, “Breakin’ Up”
Talk about stripped-down sound - on stage, original #ViolentFemmes drummer Victor DeLorenzo would stand and play a single snare drum. He’d been replaced in the band by Guy Hoffman by the time this track was recorded for official release on the album “New Times,” and you’ll see him in the official video sitting at a proper drum set (using it ever so sparingly), but I prefer the demo version that was recorded with the original band in 1981 (released on the 2002 40th Anniversary edition of their debut eponymous album), before those big #FolkPunk bucks rolled in and financed all that over-the-top 90s schmaltz. 🧐
“Breakin’ Up" official video, featured below:
https://www.youtube.com/watch?v=7WNpEQ_3Vfgvs. the demo at https://violentfemmes.bandcamp.com/track/breakin-up-demo
-
#AlternateFridayMusic
July 31 2026This time, we're #BreakingUp
...no, no, it's not you, it's me, and my fellow hashtagger(s?) who came up with this one.Violent Femmes, “Breakin’ Up”
Talk about stripped-down sound - on stage, original #ViolentFemmes drummer Victor DeLorenzo would stand and play a single snare drum. He’d been replaced in the band by Guy Hoffman by the time this track was recorded for official release on the album “New Times,” and you’ll see him in the official video sitting at a proper drum set (using it ever so sparingly), but I prefer the demo version that was recorded with the original band in 1981 (released on the 2002 40th Anniversary edition of their debut eponymous album), before those big #FolkPunk bucks rolled in and financed all that over-the-top 90s schmaltz. 🧐
“Breakin’ Up" official video, featured below:
https://www.youtube.com/watch?v=7WNpEQ_3Vfgvs. the demo at https://violentfemmes.bandcamp.com/track/breakin-up-demo
-
🔴 LIVE NOW ON VORTEX
📻 Vortex WaveSpiral 🌀 (Post Punk & Classical New Wave)
──────────────
🎵 Violent Femmes - Blister In The Sun▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE -
🔴 LIVE NOW ON VORTEX
📻 Vortex WaveSpiral 🌀 (Post Punk & Classical New Wave)
──────────────
🎵 Violent Femmes - Blister In The Sun▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE -
TodoMal – Graveyards of Joy Review By OwlswaldOf 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!
#2026 #40 #Asgaroth #BarrenEarth #Candlemass #DevinTownsend #DoomMetal #GraveyardsOfJoy #Iotunn #Jade #Jul26 #MaudTheMoth #PinkFloyd #ProgressiveMetal #Review #Reviews #SeasonOfMist #SpanishMetal #Teitanblood #TheCure #TodoMal #ViolentFemmes
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Season of Mist
Websites: todomalband.bandcamp.com | facebook.com/todomalofficial
Releases Worldwide: July 3rd, 2026 -
TodoMal – Graveyards of Joy Review By OwlswaldOf 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!
#2026 #40 #Asgaroth #BarrenEarth #Candlemass #DevinTownsend #DoomMetal #GraveyardsOfJoy #Iotunn #Jade #Jul26 #MaudTheMoth #PinkFloyd #ProgressiveMetal #Review #Reviews #SeasonOfMist #SpanishMetal #Teitanblood #TheCure #TodoMal #ViolentFemmes
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Season of Mist
Websites: todomalband.bandcamp.com | facebook.com/todomalofficial
Releases Worldwide: July 3rd, 2026 -
TodoMal – Graveyards of Joy Review By OwlswaldOf 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!
#2026 #40 #Asgaroth #BarrenEarth #Candlemass #DevinTownsend #DoomMetal #GraveyardsOfJoy #Iotunn #Jade #Jul26 #MaudTheMoth #PinkFloyd #ProgressiveMetal #Review #Reviews #SeasonOfMist #SpanishMetal #Teitanblood #TheCure #TodoMal #ViolentFemmes
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Season of Mist
Websites: todomalband.bandcamp.com | facebook.com/todomalofficial
Releases Worldwide: July 3rd, 2026 -
TodoMal – Graveyards of Joy Review By OwlswaldOf 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!
#2026 #40 #Asgaroth #BarrenEarth #Candlemass #DevinTownsend #DoomMetal #GraveyardsOfJoy #Iotunn #Jade #Jul26 #MaudTheMoth #PinkFloyd #ProgressiveMetal #Review #Reviews #SeasonOfMist #SpanishMetal #Teitanblood #TheCure #TodoMal #ViolentFemmes
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Season of Mist
Websites: todomalband.bandcamp.com | facebook.com/todomalofficial
Releases Worldwide: July 3rd, 2026 -
TodoMal – Graveyards of Joy Review By OwlswaldOf 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!
#2026 #40 #Asgaroth #BarrenEarth #Candlemass #DevinTownsend #DoomMetal #GraveyardsOfJoy #Iotunn #Jade #Jul26 #MaudTheMoth #PinkFloyd #ProgressiveMetal #Review #Reviews #SeasonOfMist #SpanishMetal #Teitanblood #TheCure #TodoMal #ViolentFemmes
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Season of Mist
Websites: todomalband.bandcamp.com | facebook.com/todomalofficial
Releases Worldwide: July 3rd, 2026 -
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