#violentfemmes — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #violentfemmes, aggregated by home.social.
-
#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
-
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 -
Violent Femmes - Gone Daddy Gone
-
🇺🇦 #NowPlaying on #KEXP's #MorningShow
Violent Femmes:
🎵 Blister in the Sunhttps://yeahdef.bandcamp.com/track/violent-femmes-blister-in-the-sun-yeahdefs-snap-edit
-
🇺🇦 #NowPlaying on #KEXP's #DriveTime
Violent Femmes:
🎵 Kiss Offhttps://futurebabel.bandcamp.com/track/kiss-off-violent-femmes
https://open.spotify.com/track/5fj76kVAnqRKKhAw5d06jj
🎶 show playlist 👇
https://open.spotify.com/playlist/2KW4FxNKVGpVTgIJYolnNY🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg -
#Music
#MusicAndre
#ViolentFemmesViolent Femmes - Jesus Walking on Water
-
#Music
#MusicAndre
#ViolentFemmesViolent Femmes - Never Tell
-
Violent Femmes - Violent Femmes - 1983
#Music #AlbumSuggestions #NowPlaying #NowListening
#ViolentFemmes #ViolentFemmes -
Twin Serpent – True Norwegian Blackgrass Review By Tyme
One of my absolute favorite articles of clothing in my closet is a beat-up, slightly holey, faded black Darkthrone t-shirt from 1998, with the band logo on the front, and “True Norwegian Black Metal” printed across the back. I share this, for what I hope are obvious reasons, to explain what initially drew me to Twin Serpent’s sophomore record, True Norwegian Blackgrass. That, and it was floating in an exclusive area of the sump pit reserved for those nuggets Steel specifically says need a review. Four years removed from their Loyal Blood Records 2022 debut, Feels Like Heaven, North Of Hell, which garnered comparisons to Godspeed You! Black Emperor and Tom Waits, this “cute outsider band” from Trondheim has a new label, Svart Records, and on True Norwegian Blackgrass, Twin Serpent teases “12 songs about love, betrayal and black holes with country licks, rock ‘n roll kicks and heaps of punk attitude.” So, coif those multi-colored mohawks, strap on those bullet-belts and arm spikes, and pull those cowboy boots on as we take True Norwegian Blackgrass for a prairie ride.
True Norwegian Blackgrass is a punk-infused, crust-country bluesabilly-thon full of quirky energy. Ditching the corpse paint and blood baths, Twin Serpent’s aesthetic is born from deliberate artistic intent—just scope that cover art touted as “weird, rowdy, and just a little bit black metal.” Face paint? Pfffft! Full body snake paint and no fucks given come standard. Spirited from the start, album opener “Space Heater” glides in on a wave of Dick Dale-esque surf guitar before going full-on Dead Kennedys with oodles of punkish energy and roars from Timo Silvola and Hanna Fauske that would have Fenriz smiling. From there, however, True Norwegian Blackgrass traverses a more eclectic musical terrain without sacrificing its punk moxie. Silvola’s countrified banjo plucks and acoustic strumming bring Bridge City Sinners and The Goddamn Gallows to mind (“Stellar Suicide”), but can folk out too on tracks like “Kipu Kivi,” which also features him chanting in his native Finnish. Back-boning Twin Serpent’s “rock”ier side are Fauske’s driving bass lines, Tony Gonzalez’s electric riffs and leads, and the shifty, exactly-what-we-need-when-we-need-it drumming of Viktor Kristensen. Together, these three bring a bluesy, alt-rock flair that had me feeling everything from Violent Femmes (“Hundromshelvete”) and Days of the New (“Tusen Takk”), to The Cramps (“Radiophobia”). To say True Norwegian Blackgrass seems a scatterbrained stew of styles would be an understatement, but I’ll be damned if Twin Serpent doesn’t pull it off.
Twin Serpent write big hooks, stacking True Norwegian Blackgrass with memorable moments. Whimsical percussion, poppy bass lines, and fuzzy guitar work make “Ærlig Talt” an off-kilter, punky fun ditty, while the catchier-than-thou chorus of the hoe-down-ready “Freak Flag” is stickier than hell, and should inspire mass consumption of cheap beer. My favorite song, ballad “Ain’t Home No More,” features a great harmonic duet between Silvola and Fauske, sung over simple banjo and acoustic guitar before feathering in surging electric chords that, in a live setting, could easily trail off into a stellar jam section. “Holy Ghost,” another tavern-tier stand-out, features more of Silvola and Fauske’s vocal harmonizations and sports a chorus that will have you swaying on your bar stool, arm around your drinking buddy, belting it out while sloshing beer from your pint glass.
Twin Serpent’s versatility is their greatest strength. I imagine they’d fit in just as easily gigging at the local brew pub as they would a barn dance or even Chicago’s Riot Fest. Covering so many musical landscapes, an album like True Norwegian Blackgrass could have easily landed as an unfocused mess. But it’s the vocal interplay, harmonies, and trade-offs between Silvola and Fauske—reminiscent of early B-52’s—keeping things intact. As many different places as this record goes, it still manages to sound like Twin Serpent, and with twelve tracks spanning 37 minutes—most songs clocking in between two and three minutes each—it never loiters long enough to get boring or tiresome. Dubbed “the wizard technician,” Vebjørn Svanberg Numme harnesses all of the foursome’s idiosyncrasies and channels them through a production that perfectly captures everything that makes the Twin Serpent sound tick.True Norwegian Blackgrass is a wonderful change-of-pace album you could totally spin when you don’t know what to listen to. Twin Serpent have added all the right ingredients to create a recipe loaded with eclectic energy and punk rock attitude. From note one, I was hooked and had more fun with True Norwegian Blackgrass than I’d ever guessed. I fully recommend you give it a try too.
Rating: 3.5/5.0
#2026 #35 #AltCountry #BridgeCitySinners #DaysOfTheNew #May26 #Norwegian #PunkRock #Review #SvartRecords #TheCramps #TheGaddamnGallows #TrueNorwegianBlackgrass #TwinSerpent #ViolentFemmes
DR: 7 | Format Reviewed: 320kbps mp3
Label: Svart Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 8th, 2026 -
🇺🇦 #NowPlaying on #BBC6Music's #CillianMurphysLimitedEdition
Violent Femmes:
🎵 Gone Daddy Gonehttps://jeffravsten.bandcamp.com/track/violent-femmes-gone-daddy-gone
-
The Kid asks about the latest Violent Femmes album #CastleRock #FrightClub #ViolentFemmes #Callback
-
🇺🇦 #NowPlaying on #BBC6Music's #6MusicsJukebox
Violent Femmes:
🎵 Gone Daddy Gonehttps://jeffravsten.bandcamp.com/track/violent-femmes-gone-daddy-gone
-
🇺🇦 #NowPlaying on #KEXP's #MiddayShow
Violent Femmes:
🎵 Add It Uphttps://dogmainrecords.bandcamp.com/track/violent-femmes-add-it-up-rui-flip-r-evol
-
🇺🇦 #NowPlaying on #BBC6Music's #NickGrimshaw
Violent Femmes:
🎵 Blister In The Sunhttps://diezzzz.bandcamp.com/track/violent-femmes-blister-in-the-sun-cover
-
Sunday: #ParallelorTogether ? #TheTyrannyofDistance ! #TedLeoandthePharmacists Reminds me of #ViolentFemmes. An #album that is as wonderful as it is forgotten. #music #alternative #folk #punk
Parallel or Together -
🇺🇦 #NowPlaying on #BBC6Music's #CraigCharles
Violent Femmes:
🎵 Blister In The Sunhttps://diezzzz.bandcamp.com/track/violent-femmes-blister-in-the-sun-cover
-
🇺🇦 #NowPlaying on #BBC6Music's #CraigCharles
Violent Femmes:
🎵 Blister In The Sunhttps://diezzzz.bandcamp.com/track/violent-femmes-blister-in-the-sun-cover
-
For obvious reasons, I tip my hat to the huge fun #GrossePointblank (1997) and #ViolentFemmes’ #BlisterInThesSun ! Given the final shootout, I wonder if the filmmakers were fans of #JohnWoo's #HardBoiled (1992)?! #music #thriller #comedy #indie #disco #rock
Violent Femmes - Blister In Th... -
VIOLENT FEMMES
Add It Up (1981-1993)
2021 U.S. 2xLP pressingSaturday night with the Femmes.
This is one of those absolutely perfect compilations of a band’s work. I talked about it when I posted Special View by The Only Ones a few weeks ago. You could argue that Add It Up might be the only thing you’d ever need to own by the Violent Femmes.
It covers all possible bases; signature songs of theirs like “Blister In The Sun”, “American Music”, “I Held Her In My Arms”, and “Gone Daddy Gone”, but also the deeper and weirder cuts like the frightening “Country Death Song”, as well as five killer live tracks.
Such a great, odd, completely singular band.
#vinyl #vinylrecords #vinylcommunity #vinylcollection #retro #vintage #art #music #theviolentfemmes #violentfemmes #indie #indierock #alternative #1980s #80s #80sMusic
-
Jetzt mal wieder ein echter #evergreen aus dem #AlternativeRock #IndieRock Bereich.
#nowplaying #vinyl #vinylrecords #nowspinning #vinilo #ViolentFemmes #Rock -
🎧 Violent Femmes' 1983 album "Violent Femmes" 🎧
Ok. Let's talk about one of the greatest albums of all time.
FULL POST: https://naladahc.substack.com/p/violent-femmes-1983-album-violent
https://www.youtube.com/watch?v=JE-dqW4uBEE&list=PLtPqy66FKl5tgeFZDY1tiLm5wqujdbQ_z
-
#Music
#MusicAndre
#ViolentFemmesViolent Femmes - I Hear The Rain
-
#Music
#MusicAndre
#ViolentFemmesViolent Femmes - Country Death Song
-
🇺🇦 #NowPlaying on #KEXP's #MorningShow
Violent Femmes:
🎵 Good Feelinghttps://violentfemmes.bandcamp.com/track/good-feeling
https://open.spotify.com/track/7ccurrFI92e3hBtU02WgTL
🎶 show playlist 👇
https://open.spotify.com/playlist/1r22YroTqfHn6X0RvVg67f🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg -
🇺🇦 #NowPlaying on #BBC6Music's #HuwStephens
Violent Femmes:
🎵 Blister In The Sunhttps://diezzzz.bandcamp.com/track/violent-femmes-blister-in-the-sun-cover
-
Post Punk Classics. No 86 in an occasional series:
Violent Femmes - Kiss Off
-
🇺🇦 #NowPlaying on #BBC6Music's #NickGrimshaw
Violent Femmes:
🎵 Blister In The Sunhttps://diezzzz.bandcamp.com/track/violent-femmes-blister-in-the-sun-cover
