TodoMal stream 'Graveyards of Joy' in full

Graveyards of Joy spans nine tracks across forty-three minutes: a sequence that moves through dense, uncompromising riffs, Hammond-driven passages, Morricone-like strings and moments of near-silence. The album opens with the slow-burning weight of 'Mare Ignis' and closes with the title track, a seven-minute elegy for depopulated landscapes and the communities left behind. Between those poles, the record traces grief, rage, loneliness and the fragile possibility of renewal, drawing its imagery from the ghost towns and high provinces of rural eastern Spain.

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Graveyards of Joy is the third album and the closing chapter of a trilogy that began with Ultracrepidarian (2021) and continued with A Greater Good (2023). Written in the enforced solitude following personal tragedy, it was recorded across multiple studios in Spain and produced by the core duo themselves, with mixing handled by Javier Fernández Milla. Mastering was completed by Jaime López Arellano at Arda Recorders in Portugal. The cover artwork is Lluís Rigalt's Ruïnes (1865), held at the Museu Nacional d'Art de Catalunya.

Tracklist:
1. Mare Ignis (05:14)

2. Lucid Nightmare (04:31)

3. Point of Coalescence (05:04)

4. Misericordiah (02:50)

5. Unholy (04:22)

6. Deliverance (07:25)

7. Humanised Gods (03:54)

8. For Mercy (03:02)

9. Graveyards of Joy (06:51)

Full runtime: 43:15

Country: Spain (ES)
Genre: Atmospheric Doom Metal
FFO: Pink Floyd, Katatonia, Candlemass, Anathema

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TodoMal came to life in 2020, conceived by Anglo-Spanish musician and composer Christopher B. Wildman and musician, composer and producer Javier Fernández Milla: two veteran multi-instrumentalists of the Spanish underground scene whose careers span a wide range of projects and styles. A product of pure serendipity, TodoMal represents a deeply personal fusion of the solemnity of traditional doom metal and the expansiveness of space rock, interwoven with nuances of ecclesiastical music, classic hard rock and cinematic soundscapes.

Their debut album, Ultracrepidarian (2021), evokes the placid yet desolate moorlands of their base in northern Alcarria and the region of Matarraña (Teruel), two emblematic landscapes of Spain's so-called "emptied lands." With A Greater Good (2023), the duo crafted a collection of what they describe as "dark songs," evolving into a complex, dense and unclassifiable album that appeared on several year-end lists and sold through its initial pressing. Fuelled by this momentum, they expanded into a five-piece live ensemble, joining forces with Javier Félez (guitar; Teitanblood, Graveyard, Balmog), Javier "Bud" Martínez (drums; Dejadeath, Jade, Ktulu) and Cecilia Tallo (keyboards/vocals; Maud the Moth).

Graveyards of Joy is the third album and the closing chapter of a trilogy. Written in solitude following personal tragedy, it channels grief, anger and hard-won hope into nine tracks of slow-burning, widescreen doom. The music breathes: vast Hammond-driven passages give way to desolate folk, Morricone-like strings open onto dusty cinematic plains, and heavy riffs anchor songs that never lose sight of melody. A DIY record of striking emotional depth and modern, alternative edge.

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Recording Line-up:
Wildman – Guitars and Vocals

Mile – Bass and Vocals

Javi – Guitars

Bud – Drums

Cecilia – Synths and Vocals

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Production Credits:

Recording Studio: Trinitat-Montseny / 7th Middle Street / Moontower Studios

Producer: Javier Fernández Milla / Christopher B. Wildman; assisted by Javier Félez Rodríguez (drums recording and guitar engineering)

Mixing: Javier Fernández Milla at Trinitat Montseny

Mastering: Jaime López Arellano at Arda Recorders (Portugal)

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Guest Musicians:
Cecilia Tallo (background vocals, tracks 4 and 6)