Album Review: Worm - Necropalace (2026, Century Media)

Written: 7th February 2026

Formed more than a decade ago by then sole member Phantom Slaughter, Worm are self-categorised as necromantic blackened doom. Embellishments of symphonic metal, horror film scores, gothic metal and even moments of death metal and classic heavy metal contribute to their sound. Having released the excellent Foreverglade in 2021, the Bluenothing EP in 2022 and the split album Starpath with Dream Unending in 2024, Worm – which since Bluenothing has featured guitarist Wroth Sepentrion in the line-up - are ready to unleash the next chapter in their expanding dark mythology.

Throughout Necropalace, they weave tales of ancient curses, vampiric resurrection, cosmic darkness, doomed love and eternal sorrow. In true black metal fashion, Phantom Slaughter states, “Welcome to the domain of dread known as Necropalace. This fortress has kept my memories and nightmares for centuries. Risen from ancient slumber, the curse is once again free to haunt starlit nights. While approaching the icy gates of Castle Ravenblood, a swirling mist begins to form. Phantom figures surround you. Enter if you dare but be warned, the darkness may consume your mortal soul forever. The ultimate evil has returned…”

Two minute long opening track Gates to the Shadowzone serves as an instrumental prologue and it is easy to imagine it featuring in the opening scene of a horror film during which we appear to be flying high in the dead of night, circling a fog-shrouded Castle Ravenblood before we swoop down approaching the main entrance, ready but nervous to enter. Orchestral, gothic and full of melodically grandiose guitar, it serves as the perfect introduction to the album.

From the first moments of title track Necropalace, Worm show the dark world that they wish to conjure. Vocals that range from black metal to ceremonial spoken word combine with majestic doom-laden riffs, opulent synths and tectonic blast beats. All of these elements add to the track’s hypnotic nature. However, Worm’s strength is the variety within their tracks and due to their length – Necropalace at just over ten minutes is only the third longest song - this range becomes necessary, giving their sprawling compositions room to breathe, transform and draw the listener deeper into the surrounding gloom. Necropalace moves from theatrical black metal to moments of introspective acoustic guitar via various sound effects, all of which add to the narrative. Worm twist tempos and dynamics, making use of baroque style piano and shimmering rapid guitars. Lyrically, it introduces a resurrected dark lord that stalks the castle and welcomes us to a domain where darkness lives eternally. I see the blood drip from my blade / Lights demise / I am the dark lord / Pick up the sword / Reclaim my throne. The result is a piece that keeps expanding and pulling you further in, its weight and intensity working together to make it genuinely compelling from start to finish.

Almost ten minutes in length, Halls of Weeping finds the undead lord wandering cursed corridors reliving memories that refuse to die. As the shadow figure / Chants infernal names / Dragon born, demonic hordes / Rise up from the catacombs / Tomb of ancient blood. With an infinitely more sombre and sorrowful atmosphere, Halls of Weeping sits in mournful contrast to Necropalace, allowing Worm to draw out notes and adopt a funereal approach. Mesmeric, otherworldly vocals and choral chants add to the spectral auras.

Worm maintain the listener’s interest with these changing moods which continue on The Night Has Fangs – the shortest track on the album, bar Gates To The Shadowzone – at just over seven minutes. Following a slow, subdued introduction, Worm pick up the pace once more, their black metal roots coming to the fore. Resplendent synths intertwine with restless guitar all creating a lavishly jewelled sensibility. The guitar solos across the album are sharply crafted, each one serving the song rather than acting as filler. Some tear forward with raw speed and bite, while others lean into more melodic, detailed phrasing that lifts the track in subtle but powerful ways. Such is the case on The Night Has Fangs which builds wonderfully towards a colossal ending.

Dragon Dreams - which runs beyond twelve minutes - unfolds patiently, with new layers emerging throughout its opening section. It begins with acoustic guitar before distant synths, electric lines and bass settle in. Blast beats then suddenly drive the track forward. These heavier surges are spaced out with slower percussion and hymnlike keyboards, giving the piece a steady, gathering weight. Following some truly outstanding guitar work, the song slows and a glorious meditative section leads us towards the stunning conclusion during which the blast beats battle radiant keyboards and soaring guitars for dominance. Now that the dawn / Has gone away / Conjure realms beyond the stars / Shadow / My shadowlife / Wander  / She froze my heart / Remember the day / In deepest sorrow  / Curse at the gods.

Something in the introduction of penultimate track Blackheart reminds me of Time Stands Still by Rush and without doubt, the track embraces the bands progressive and avant-garde leanings. It is perfectly positioned in the track listing to offer something different at a point where another track of the kind that has come before might feel a little oppressive. With hints towards early Katatonia, Fields of the Nephilim and Dødheimsgard, it certainly shows that Worm are not afraid to experiment and bring different sonic textures to their music. Vocalist Phantom Slaughter shares, “We consider this to be a gothic vampire love ballad. Sharing a different kind of emotion and colour than the rest of the record. The lyrics touch on the isolation and loss one feels as a child of the night.”  That feeling comes through clearly and there are even moments where keyboards and guitars move together in a way that are unexpectedly redolent classic melodic rock, all while still stirring in flashes that recall the sharper edges of Symbolic‑era Death - an intriguing recipe that works far better than it has any right to.

Just when you might think Worm could not produce anything more epic, the album ends with the Witchmoon – The Infernal Masquerade. Across fourteen minutes, it gathers threads from previous tracks and drives them forward in a single, surging current. Keyboards rise in tandem with guitars and each transition in the track lands with precision. It does not feel like different pieces of music stitched together, but the rise and fall of the narrative illustrated with intent. A slower, spacious passage clears the air before guest guitarist Marty Friedman enters with unmistakable authority. His lines do not merely appear; they ignite, carving a brighter edge through the arrangement and snapping the piece into sharper focus. From there, the closing section advances with firm resolve. The result feels expansive in the best sense. Depicting a ritualistic, forbidden romance in which devotion turns to obsession and emptiness, the narrative concludes. Tasting the blood from your lips as you die / Master of the cosmos / I summon endless night / The knowledge of sorrow / Wisdom / Shadows remain, a salvation for me.

As a whole album, Necropalace leans more firmly toward black metal than doom, yet it incorporates progressive ideas with remarkable fluency, allowing the extended pieces to unfold with clear shape and intent. Some listeners may view the scale and atmosphere and even cover art of the record as excessive or overblown, yet its heightened presentation serves a deliberate purpose and, for me, strengthens the sense of immersion, shaping the album into something closer to an elaborate piece of vampiric cinema, a quality reinforced by the band’s accompanying short films.

The mix by Arthur Rizk (who has worked with Blood Incantation) is outstanding; every instrument asserts its presence with precision, even during the most aggressive passages and the densest blast‑beat surges. The album demands commitment, both in its hour‑plus duration and in its lengthy, immersive compositions. Those who submit to its momentum will find a consistent musical voice throughout; if you like one track here, you are likely to enjoy them all. Classic elements of gothic and vampiric storytelling are present, yet the true triumph lies in the music’s ambition, poise and identity, which together deliver a compelling and confidently realised work.

Necropalace is released on 13th February 2026.

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