TodoMal has risen to prominence.
Formed in 2020 in Spain by Christopher B. Wildman (guitar/vocals, Dejadeath, ex-Asgaroth) and Javier Fernández Milla (bass/composition, Yskelgroth, ex-Nexus 6), the duo signed with Season of Mist in 2026 for the release of their third album, Graveyards of Joy.
The musicians are joined on stage by Bud (drums, Dejadeath, Jade), Javier Félez (guitar, Graveyard, Of Darkness, Spectre, Teitanblood), and Cecilia Tallo (keyboards/vocals, ex-Maud The Moth), as well as Teodora Gosheva (vocals) and Darío Garrido (guitar) for the recording.
Despair begins with the unsettling sound of Mare Ignis, a heavy and haunting opening track that gradually reveals its various layers, ultimately developing an almost reassuring and grandiose quality as all the elements naturally come together in melancholy. Although quite long, the track flows easily into Lucid Nightmare and its haunting tones that darken the landscape, which has become quite epic, reinforcing this haunting section with piercing leads between moments where the vocals blend harmoniously; then Point of Coalescence arrives to once again cast a dark shadow over the picture. It strikes us as more solemn, almost martial and oppressive at times, in contrast to Misericordiah, which offers a gentle, soothing interlude, free of any distortion that might disrupt this moment where the voice can wander peacefully over the strings. We return to the heaviness with Unholy, a track that quickly becomes catchy and clouds our minds as vocal parts and melodies dance and echo one another through these misty veils that carry our minds away until Deliverance, which grants us a moment of respite with its clear introduction, then adds distortion, bitterness, and nostalgia. The track is both the brightest and most ethereal on the album, but also the most progressive and contrasting, using its seven minutes to take us on a true mental journey through imposing passages, jagged moments, and others that are more stripped-down, but it too will eventually fade out to give way to the warm and very welcoming Humanised Gods, a composition that’s fairly short for doom metal but immediately envelops us in its cocoon of tranquility as we wait for For Mercy to take over in an acoustic arrangement. The two tracks are relatively similar, yet each has its own distinct character; however, they come to an end rather quickly, whereas the title track, Graveyards of Joy, prolongs the pleasure, offering us an intoxicating and infectious sweetness that seals this album with the most ethereal harmonies and tones, sounding almost like a redemption from the darkness of the beginning.
I’m discovering TodoMal with Graveyards of Joy, and what I hear here goes far beyond the boundaries of Doom, where I thought they were confined! The band knows exactly how to balance darkness with much softer touches, turning this journey into a truly invigorating experience!
85/100