First pressing limited to 200 copies on black 180g heavy vinyl. Printed on reverse side of the board, includes double sided insert and pvc sleeve. Mastered for vinyl by Greg Chandler at Priory Recording Studios. TodoMal are back with "A Greater Good", their new studio album. The Spanish duo formed by Christopher B. Wildman and Javier Fernández (Asgaroth, Nexus 6, The Heretic, Dejadeath, etc.) bring a collection of "dark songs" (as they like to define it), which began with the seeds planted in "Ultracrepidarian," their debut album, and has evolved into a complex, dense, and unclassifiable album that takes us on a journey through somber landscapes, existential doubts, tragicomedy, and spiritual and personal unrest. "A Greater Good" poses challenging questions, wrapped in musicthat is sometimes dark and at other times luminous, spanning from slow-tempo to progressive rock to quasi-mystical litanies. The path they embarked upon with their debut album, leading to desolate landscapes and the emptiness of the plateau, has continued into darker territories, reminiscent of tenebrist altarpieces, where doubts about what is right or wrong, what we do in this world to earn redemption, or why we have a nefarious tendency to destroy what we love are depicted against a smoldering forest. The journey continues, despite the obstacles. "A Greater Good" boasts ambitious production to accommodate all its elements, like pieces of a giant mosaic. Vocal harmonies, acoustic elements, and occasional orchestral arrangements blend with serpentine opera-rock pieces, making their way by clawing through the earth. The sophomore album of this prolific space doom duo will no doubt appeal to fans of bands like CANDLEMASS, KRUX, PINK FLOYD, AVATARIUM and, we dare say, old GHOST!. Doom on! TRACKLIST 1. Silent Mass 2. High Time 3. Infero Tristi 4. Ultima Lucerna 5. Dust And Nothingness 6. Antichrist Of Love 7. Loss 8. A Greater Good CREDITS *Christopher B. Wildman (vocals, keys, guitars, acoustic guitars) *Javier Fernández (guitars, bass, keys, drums) Guest musicians: *Darío Garrido (Spanish guitar) *Teodora Gosheva (Vocals) *Fernando Moya (guitar solo in “High Time”) *Produced by Javier Fernández *Recorded at Montseny Studios & Trinitat Studios, Winter 2022-2023 *Mastered by Greg Chandler at Priory Recording Studios and Javier Fernández *Cover painting “Zoosofías 100” by Paloma Pájaro, used with kind permission of Universitat de València (colección Martínez Gerricabeitia) and the author

6 panel digipack, first pressing of 500 units. Three years after their critically acclaimed debut 'The Will' and almost a quarter of a century after their first endeavour together, RAPTURE'S doom death seminal landmark 'Futile', guitarists Jarno Salomaa and Tomi Ullgrén (both of them also members of funeral doom legends SHAPE OF DESPAIR) are back with their haunting and otherworldly twin-guitar harmonies on the sophomore release of Counting Hours 'The Wishing Tomb'. On yet another surprising expansion of their signature sound, the Finns continue building a set of colossal and unforgettable melodies using unnerving and gazing grooves as the backbone of their compositions, only to be intertwined with the emotional vocals of singer Ilpo Paasela (of THE CHANT fame), culminating in what will be one of the gloomiest yet, oddly enough, most memorable releases of the year. Nine songs of bleakness and hopeless melodies that will be stuck in your minds for the rest of your hopeless life...the true masters of nordic melancholy are back! TRACKLIST 1. Unsung, Forlorn 2. Timeless Ones 3. Away I Flow 4. All That Blooms (Needs To Die) 5. Starlit / Lifeless 6. The Wishing Tomb 7. No Closure 8. A Mercy Fall 9. This Well Of Failures Ilpo Paasela - vocals Jarno Salomaa Petrushevski - electric & acoustic guitars Tomi Ullgren - electric guitars Markus Forsström - bass Sameli Köykkä - drums

Second pressing (2024) on 6 panel CD Digipack limited to 200 copies. Todomal are back with "A Greater Good", their new studio album. The Spanish duo formed by Christopher B. Wildman and Javier Fernández (Asgaroth, Nexus 6, The Heretic, Dejadeath, etc.) bring a collection of "dark songs" (as they like to define it), which began with the seeds planted in "Ultracrepidarian," their debut album, has evolved into a complex, dense, and unclassifiable album that takes us on a journey through somber landscapes, existential doubts, tragicomedy, and spiritual and personal unrest. "A Greater Good" poses challenging questions, wrapped in musicthat is sometimes dark and at other times luminous, spanning from slow-tempo to progressive rock to quasi-mystical litanies. The path they embarked upon with their debut album, leading to desolate landscapes and the emptiness of the plateau, has continued into darker territories, reminiscent of tenebrist altarpieces, where doubts about what is right or wrong, what we do in this world to earn redemption, or why we have a nefarious tendency to destroy what we love are depicted against a smoldering forest. The journey continues, despite the obstacles. "A Greater Good" boasts ambitious production to accommodate all its elements, like pieces of a giant mosaic. Vocal harmonies, acoustic elements, and occasional orchestral arrangements blend with serpentine opera-rock pieces, making their way by clawing through the earth. The sophomore album of this prolific space doom duo will no doubt appeal to fans of bands like CANDLEMASS, KRUX, PINK FLOYD, AVATARIUM and, we dare say, old GHOST!. Doom on! TRACKLIST 1. Silent Mass 2. High Time 3. Infero Tristi 4. Ultima Lucerna 5. Dust And Nothingness 6. Antichrist Of Love 7. Loss 8. A Greater Good *Christopher B. Wildman (vocals, keys, guitars, acoustic guitars) *Javier Fernández (guitars, bass, keys, drums) Guest musicians: *Darío Garrido (Spanish guitar) *Teodora Gosheva (Vocals) *Fernando Moya (guitar solo in “High Time”) *Produced by Javier Fernández *Recorded at Montseny Studios & Trinitat Studios, Winter 2022-2023 *Mastered by Greg Chandler at Priory Recording Studios and Javier Fernández *Cover painting “Zoosofías 100” by Paloma Pájaro, used with kind permission of Universitat de València (colección Martínez Gerricabeitia) and the author