Style: symphonic black metal, doom metal (harsh vocals)
Recommended for fans of: Dimmu Borgir, Limbonic Art, Emperor, Disembowelment, Evoken
Country: Florida, United States
Release date: 13 February 2026

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The twin trails of dried blood stand out starkly against their backdrop of freshly pale skin. The moonlight twists through gossamer clouds and quaking leaves and dances its way down to rest upon the lapping lakeshore, multitudinous likenesses like the faceted diamonds of a crown. Stars twinkle, and all is still until the night is split by a scream. The body convulses against the earth as bones and tissue dissolve and reknit themselves anew. Keener senses flare awake. Fangs emerge, and when the dust has settled, a corpse no longer lies within the copse but a beast. A lion among sheep—a vampire.

To truly embrace the vampiric is no simple feat, but to anyone who’s been paying attention, Worm’s sanguinization should come as no surprise. While 2021’s full length Foreverglade was a boggy brew of Disembowelment-esque death doom, 2022’s Bluenothing and 2023’s Starpath split should have clued the attentive listener into the transformation that was occurring and has achieved its final form on Worm’s newest, Necropalace. Fully embracing the aesthetics of 90s black metal à la Dimmu Borgir and Limbonic Art, Necropalace sees band mastermind Phantom Slaughter and virtuoso guitar-wielder Wroth Septentrion settling comfortably into their newfound vampiric powers. Atop the blackened doom which comprises the album’s core sound soars an ever-present clangor of symphonic elements ranging from the typical synthesized choirs and strings to a genuine timpani performance courtesy of Wroth, which goes a long way in emulsifying the metallic and symphonic aspects of the album’s sound.

Detailing the life of a vampire wrestling with the implications of and ultimately coming to terms with his immortality, Necropalace is an album that takes its time in revealing the true grandeur of which it is capable. The maze-like structures of early tracks “Necropalace” and “Halls of Weeping” make me feel as though I am trapped within a haunted manor, opening doors only to find endlessly opulent chambers and corridors. Not until “Dragon Dreams” do I feel as though I’ve found my footing amid the dark and romantic world Worm have conjured. Thankfully, this acclimation occurs just in time to appreciate the stellar back half of the album; the closing triple threat of “Dragon Dreams”, “Blackheart”, and “Witchmoon: The Infernal Masquerade” is where Necropalace hones its definitive sound.

From the warbling whammy flutters of “Necropalace” to the tasteful pinch harmonic that starts off “Halls of Weeping” and the decadent three-part harmonies of “Witchmoon”, this album sees Wroth Septentrion biting deep into the neck of 80s shred and drinking deep the ichor found there. While every track features more than one toe-curling solo, it is once again the closing trio that helps itself to the lion’s share. “Dragon Dreams” sees its leads coast atop the album’s dirgiest doom sections and most blistering black metal tremolos; “Witchmoon: The Infernal Masquerade” features a five-minute solo duel between Wroth and none other than Marty Friedman (honorary vampire); but it is “Blackheart” which takes home gold with its purely indulgent solos that, as they twist and weave through their symphonic supports, make me feel as though I am soaring through the clouds of a moonlit night.

With its blend of 90s symphonic black metal and 80s shred, Necropalace is distinct amidst Worm’s discography and the modern metal scene at large. Still, there have been some growing pains in this transformation. As much as I enjoy Worm‘s take on the black metal sound, it often comes across as pastiche and not as a meaningful synthesis with their original sound. So, while I enjoy the symphonic synths and choirs, I can imagine some Foreverglade—and god forbid, Gloomlord—diehards feeling a bit betrayed. Additionally, while it may have been a conscious decision to augment the album’s flow, I can’t help but feel as though Necropalace is backloaded, the final three tracks containing the album’s most interesting song structures and most engaging solos.

Much like its protagonist, Necropalace grows more assured the longer it lingers in its new skin. What begins as theatrical homage gradually settles into something more lived-in and self-aware, and if there are moments where the black metal reverence borders on replication, they are ultimately eclipsed by the sheer conviction of the performances. While I highly doubt this will be Worm’s final form, I hope that Phantom Slaughter and Wroth Septentrion receive the accolades they truly deserve for Necropalace.

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Recommended tracks: Blackheart, Dragon Dreams, Witchmoon: The Infernal Masquerade
You may also like: Exxul, Aquilus, Spectral Voice, Obsidian Gate
Final verdict: 8/10

Related links: Bandcamp | Instagram

Label: Century Media Records

Worm is:
– Phantom Slaughter (vocals, keyboards, songwriting, lyrics)
– Wroth Septentrio (7 & 12 string guitar, keyboards, timpani, songwriting)
With guests:
– Marty Friedman (guitar on track 7)
– CK (drums)
– Necreon (bass)