Unlike their namesake, Worm are a complex lot: their evolution from old-school death doom (which they more-or-less mastered on 2021’s ‘Foreverglade’) to symphonic black metal has been fascinating to witness, spurred on as it was by the contributions of Philippe Tougas (or, as he’s known in this case, Wroth Septentrion). The group are only picking up steam with each release, now standing as one of the more revered and spoken-of acts in the modern black metal scene. If their newest album is any indication, that trend is sure to continue— ‘Necropalace’ is one of the most unapologetically awesome records on the market right now.

If you thought ‘Foreverglade’ was an impressive outing, Worm are primed to knock your socks off in 2026. ‘Necropalace’ is a vast and opulent record that earns the appearance of Count Dracula on its cover, extending four of its seven tracks out to past the ten minute mark— it’s a greatly cinematic outing, though the album is more focused on indulging in its gothic atmosphere than it is in moving the plot along. If Phantom Slaughter and company showed any restraint in the creation of these songs, it barely registers as part of the final release: ‘Necropalace’ is almost daunting in its eccentricity, and positively staggering in its ambition. The title track is a towering collection of layers and sounds each more bombastic than the last, building out your typical metal arrangement with echoing keyboards, haunting choirs and dramatic chord changes that all feel ripped straight from the Castlevania soundtrack. Don’t let Worm’s unintelligible logo, larger-than-life artwork or wonderfully overblown song titles fool you— their new album really is that ridiculous in all the best ways.

Worm claim to “live by the flesh, die by the sword” and we must admit that their ambitions do cut both ways here: really, no record this gargantuan can escape the odd shortcoming, and the album is called ‘Necropalace’ rather than ‘Necrohouse’ for a reason. From the opening overture ‘Gates to the Shadowzone,’ it becomes apparent that the sinister keyboard lines that lend Worm their signature gothic style are a dominating presence in the mix, so much so that they can often drown out the rhythm guitars— even if this is meant to be enjoyed more like an orchestral piece than your typical black metal extravaganza, it’s disappointing to see some of Worm’s best traits sold short like this. ‘Necropalace’ is a record that requires the right mindset, one in which you’re looking to marvel at its impossible scale and scope rather than head-bang until your neck breaks. For all Phantom Slaughter’s ominous howls and the gruesome death doom riffs that make up ‘Halls of Weeping,’ the cut doesn’t come together to be overly heavy: instead, it, like the songs surrounding, is something to simply be marvelled at.

Case in point: Wroth Septentrion’s lead work. If there’s a single element that defines ‘Necropalace,’ it may just be the dazzling displays of technicality and absolute instrumental mastery that Tougas brings to the table (even above those theatrical keyboards, which really are essential). His guitar slices through this old-school metal mix effortlessly whenever it comes screaming out to the forefront, coming equipped with a remarkable balance of flowery phrasing and excellent note choice— the man tears the ending of the title track to shreds, yet manages to inject some seriously infectious melodies into cuts like ‘Dragon Dreams’ and ‘Blackheart’ that stick with you long after the album’s hour-long duration is up. The ending of closer ‘Witchmoon: The Infernal Masquerade’ sees Septentrion trading off leads with the one-and-only Marty Friedman in one of the most powerful and all-around phenomenal guitar duels ever put to tape. The last seven minutes of ‘Necropalace’  are a dizzying display of pure, unfiltered excellence, right down to its final drum fill.

The six main songs that make up the album aren’t the most structured pieces you’ve ever heard— the shortest of them clocks in at seven minutes, and that’s only half as long as the closer— but Worm do a commendable job giving each track a distinct identity that allowed the record to hook you, right up until it finally concludes. ‘Halls of Weeping’ is the slowest and darkest cut that ‘Necropalace’ has to offer, using Tougas’ talents to accent this spiralling exercise in death doom: somehow, Worm manage to marry the cut to the technical flourishes and racing tempos of ‘The Night Has Fangs,’ building both up to equally wondrous heights of atmosphere and showmanship. The following ‘Dragon Dreams’ and ‘Blackheart,’ then, have a greater melodic emphasis, with the latter going some ways to fill the role of a ballad (though its furious drum work and screeched vocals might say otherwise). Once ‘Witchmoon: The Infernal Masquerade’ has had its say, ‘Necropalace’ has well-and-truly earned its keep as one of the largest, most all-encompassing records symphonic black metal has ever seen.

Sometimes, it’s ok for an album to simply be awesome, and the latest outing from Worm is downright badass. It’s a record that’s worth checking out for its lead work alone— seriously, Tougas is a menace— though don’t be surprised if ‘Necropalace’ ends up sinking its teeth deep into you. Phantom Slaughter and company have really outdone themselves this time: this is now the bar for modern symphonic black metal, and that bar is very, very high.