MetalMatters: The Best Metal Albums of February 2026

Well into 2026 now, and February packs quite a punch. It feels like a month of long-awaited expectations finally coming to fruition, and the results are strong. Fossilization establish themselves at the apex of death metal, and Eximperitus take the mystical and ritualistic route to their brutal death identity. On the black metal side, it is Slagmaur that awaken from their slumber, their industrialized black metal rooted in a much older tradition. From the same neck of the woods, a cast of renowned black metal fiends comes together in Diabolus, Mecum Semperterne! to return to a stage of orthodoxy.

Between all the aforementioned acts, and a few more that lurk in darkness and despair, I found a place for the new A Wilhelm Scream record, which is a fantastic listen. That and much more, so dig in! – Spyros Stasis

A Wilhelm Scream – Cheap Heat (Creator-Destructor)

What is at the core of A Wilhelm Scream is a sense of sardonic humour and cheekiness. I still remember when I came across the poetically titled “Me Vs Morrissey in the Pretentious Contest (The Ladder Match)” from their monumental fourth record, Ruiner. This unadulterated glee is also the fuel for their music, its energetic, youthful quality remaining intact now with a quarter century of mileage under their belt.

Cheap Heat doubles down on everything that defines A Wilhelm Scream. The original punk tone is still there, at times producing D-beat fury through its primitive progression, a higher gear of exhilaration and urgency that is ever-present. On top of that, the hardcore groove is undeniable, defining the rhythmic structures and the attitude. It’s energetic music, with an appreciation for the 1990s hardcore scene and its melodic implications. It might appear like a simple recipe, and in terms of execution, that is true.

However, A Wilhelm Scream deliver it with conviction and energy that even many newcomers to the scene lack. The manner in which they have structured the album, with short tracks aiming for two to three minutes, greatly helps. It makes each song stand out and provides the record with a fantastic, pedal-to-the-metal flow.

This is fertile ground for the next crucial component. The metallic element has always been prevalent, but here it takes further charge. Originating from guitar riffs, it delivers a sharper sound and an unexpected dose of technicality. “Somebody’s Gonna Die” establishes this from the get-go, where the fast picking creates anticipation, and the incoming melodies erupt in a frenzy.

From there, it travels in multiple directions. Thrash riffs provide volatility (“The Scumbag Grift”) and Thin Lizzy swoops set a dreamy sense (“Run”). Their approach is mostly melodic here, with the solos and lead work producing some stunning hooks. At times, it might seem to go over the top, adding more immediacy and catchiness to something that does not need it. However, it feels intricate, and at its best, it is reminiscent of the early Suicidal Tendencies records, where Rocky George’s handiwork would just explode into brilliant melodies over the punk structures, lifting the tracks as a whole. That is exactly how A Wilhelm Scream approach this as well.

The lyrics, in themselves, are fantastic, this time delivering a villainous narrative. I keep returning to the lines of “Fell Off”, with the vitriolic “I’m watching out / And I hate all of you / Gutless, cut throat fucks / I see right through”, just to reach the bitter end of “I can’t stop my brain / I can’t stop the words / I can’t explain the joy it brings to get what I deserve”. Much like the music, it is energetic and in-your-face at the top level, but more intricate and nuanced. It turns this sardonic essence toward a cathartic crescendo. It summarizes what A Wilhelm Scream are all about. So, is Cheap Heat something you haven’t heard before? No. Are you missing out if you do not listen to it? You absolutely are. – Spyros Stasis

Diabolus, Mecum Semperterne! – Diabolus, Mecum Semperterne! (Terratur Possessions)

The point of origin exerts its own gravity. T. Skei’s latter-day extraterrestrial travels with Manes may have pulled him away from black metal core’s form, yet his work repeatedly curves back toward it. Whether through Manii, Høstsol, or now Diabolus, Mecum Sempertene!, alongside fellow Nidrosian figures K.Rambech (Whoredom Rife), B. Kråbol (Misotheist), and E. Blix (Mare), this return is a re-entry in the genre’s orthodox pressure and ritual severity.

The collective’s self-titled debut is a return to the early orthodox sound, which was moulded by De Mysteriis Dom Sathanas and then expanded by Funeral Mist. It is an expression that rests on two fundamental pillars, pressure and aesthetics. On the first, Diabolus, Mecum Sempertene! produce an endurance test of a record, comprising long-form, tremolo-picked riffs that define the proceedings. It is a continuous application of intensity, making tracks like “Revelabitur gloria domini” feel excruciating due to their single-minded approach toward the ultimately punitive end. The motifs here appear unmoving and unchanging, a constant pummelling that does not let you breathe. 

However, while Diabolus, Mecum Sempertene! reject much of the dissonant strain that Deathspell Omega developed, they still allow for certain deviations. The melodic leads halfway in “Ab illo benedicaris, in cujus honore cremaberis” offer an anchor amidst this relentless rendition, and the way they transform to the echo-drenched lines produces a bitter, hallucinogenic effect.

The second pillar, atmosphere, is approached in a maximalist manner. Here, large choir arrangements adorn the background, tapping into the reversed ecclesiastical tradition that defined the early days of the genre. They are at their strongest when embedded in the actual tracks, highlighting the dark essence of it all, but they become more superfluous when they stand on their own. While the ritual construction is clear, having these parts stand alone makes them feel more like ornaments rather than fully integrated parts of the whole.

Still, the further addition of keyboards and synthesizers digs deeper into the atmosphere, becoming particularly strong when coupled with the unexpected bestial and mid-tempo-based rendition of a track like “Diabolus sit in corde tuo, et in labiis tuis, ut digne et competenter annunties evangelium suum.” The already infernal quality gets an additional edge, as the organ-like sounds complete this unholy procession.

Diabolus, Mecum Sempertene! achieve their end goal of a return to orthodoxy. Their construction of the two pillars is successful, and they display a deep understanding of their mechanics and how to apply them. The resulting offering becomes part of the same, forever occurring ritual, but it does not possess the same harrowing essence of Mare’s monumental Ebony Tower, or show the same dedication to tradition as the last Djevel trilogy. – Spyros Stasis

Eximperitus – Meritoriousness of Equanimity (Willowtip)

Since their inception, Eximperitus (I refuse to type their full name) have been obsessed with the epic and mystic potential of brutal death metal. From their unpronounceable debut through Sahratu, Eximperitus have drawn from a lineage shaped by Lykathea Aflame’s mystical delirium and Nile’s esoteric grandeur. Now, with their third full-length, the band led by guitarist Sergey Liakh (also of Relics of Humanity) aim to hone their sound further and find the right balance between brutality and melody.

It’s a hard equation to solve. Some artists will get devoured by their technical inclinations, their complex fret gymnastics and endless arpeggiated runs dissolving into percussive blur, muddying the epic songwriting. Others will make the opposite move, forgetting the relentless essence of brutal death metal and naturally falling into a melodic setting. For Liakh, it feels like his time with Relics of Humanity, during which he indulged in the unyielding complexity of Defeated Sanity and early Suffocation, has left him content to keep Eximperitus on a different trajectory. And this is where the success of Meritoriousness of Equanimity is based.

While Eximperitus channel the mystical aspects of Lykathea Aflame and Nile, they do not reach the same heights of over-the-top technical brutality. Instead, they immediately go for the jugular, mirroring the mid-period Behemoth, and especially Demigod. “Golden Chains for the Construction of Individual Greatness” sees them place slow, heavy guitar riffs atop fast-paced drumming, the contrast creating an aura of grandeur.

From this Sumerian ceremony, they can then descend into moments of knuckle-dragging contempt, with “Contemplation of the Plastic Fibers…” opting for a slow, determined progression that prioritizes simplicity over verbosity. Every time that you think they have taken this approach too far, Eximperitus drag it back into the brutal death space, unleashing some ungodly burst of bestial energy and alien complexity.

Eximperitus display another strength in leaning heavily toward their melodic side and even push outside the brutal death metal norms. At the top level, this makes Middle Eastern melodies more prominent, piercing through the heavy riffs and complex structures. However, the more impressive side is when they let a more traditional metallic approach shine, as in the pristine lead part halfway through “The Untimely Fruit of the Unsaid”. It is a step outside of brutal death, only topped by the clean vocal delivery found in “Finding Consistency in the Fourth Quadrant of Eternity”. It is small additions, not strong enough to alter their brutal form completely, but capable of offering an interesting twist to this tried recipe.

If there is one aspect where Meritoriousness of Equanimity falters, it is in its production. While not particularly bad, it does not let through all the nuance in the band’s compositions. While brutal and melodic death metal can be greatly enhanced by pristine production, here it falls a bit short. Instead, the result does not appear to be so much pristine, but rather plastic.

That comes across all instruments, with the guitars sounding more like being re-amped, detached from their live playing. The drum sound again feels to be lacking power. It is a shame, really, especially because, balancing and mixing-wise, this is quite strong, allowing the psychedelic elements and epic qualities to cut through. Still, it does not nullify either the underlying compositions or the excellent musicianship that Eximperitus display. – Spyros Stasis

Fossilization – Advent of Wounds (Everlasting Spew)

Incantation’s shadow lies heavy on newer death metal acts, its mechanics and structures providing a clear blueprint that, while easy to follow, can lead to the loss of identity. For Fossilization this was never a problem. With their debut record, Leprous Daylight, the Brazilian act showed they could embrace the old-school death metal ethos without being consumed by it. Now, Advent of Wounds returns to find them in an even more brutal state, while still reaching beyond the strict confines of the scene into the discordant, ritualistic, and psychedelic.

Similar to the death metal forefathers, Fossilization have a string understanding of song structure and progression. Their death metal does not stand still. In “Terrestrial Mold”, it erupts in fierce blastbeat-driven assaults to then descend to groove-laden mid-tempo stampedes. The anchor point here is a polemic core, a sense of battle frenzy taking over, and this naturally leads to an epic tone. The start of “Servo” with the trumpets signalling the end of days before the drums commence their martial procession is harrowing, and it also lends a ceremonial quality, one that steps outside the death metal fold.

Despite their relentless aggression, Fossilization are much more nuanced than they might appear on the surface. Their death metal is imbued with a strong dose of doom, drawing on the deep Black Sabbath-ian lineage via the Peaceville Three, with an added psychedelic twist. It makes their death/doom not just despairing and decadent, but also hallucinogenic, turning the familiar gore into something more uneasy. An uncomfortable fever dream filled with discordant arpeggios that make “While the Light Lasts” flash with images from Panos Cosmatos’s Mandy.

The further descent into the black metal side has a similar effect. Where doom psychedelia enriches the slow, groove-heavy parts, the vitriolic dissonance intensifies the battle cries. The relentless progression and blastbeats take on an adversarial quality, their lead work contorted to an angular lashing out.

It might be that the old-school death metal revival has brought many worthy bands to the fold. Many acts walk the path in unwavering dedication; however, the ones that stand out are those who forge their own way, not looking to escape it but make it anew. Advent of Wounds reveres tradition, but it does not look to simply reconstruct the genre’s core. Their death metal aims to overwhelm not through sheer brutality, but by exploring the hallucinatory underbelly of the carnage, the adversarial nature of cacophonous chordings, and the ceremonial essence of battle. – Spyros Stasis

Geheimnisvoll – Pale Triumph of the Hidden Flame (Obscurant Visions)

In recent years, Sceadugenga has emerged as one of the most vital custodians of black metal’s many expressions. Across projects like Heorudrync, Waelwang, and Deogen, the obscure force behind them has demonstrated not just stylistic range, but a deep understanding of the genre’s internal logic, and how to wield and weave rawness and melody, abrasion and atmosphere within raw interpretations, black/punk hybrids, or symphonic exaltations. With Geheimnisvoll, this knowledge is applied to the raw, melodic lineage, drawing on the early Gorgoroth strain that first surfaced on The Endless Void of Eternal Suffering and Enslavement, and refining it for a more focused, disciplined expression.

With Pale Triumph of the Hidden Flame, Geheimnisvoll do not look to innovate or stray from the path. They instead look to become part of a canon that began with Pentagram and the works of the French and Finnish underground black metal scene. In that fashion, Geheimnisvoll aim for the fine balance between a raw presence and a melodic underbelly. It hits immediately, as the icy riffs of “Eternal Gleam In The Silent Void” are defined by tremolo-picked mayhem. Yet, they also produce a highly melodic quality that demands repetition.

Sceadugenga’s dedication to tradition is not only mirrored in the influence but also becomes part of the record’s structure. While the songs follow a fast-paced, pedal-to-the-metal approach, driven by momentum, there are not many changes. The tempo rarely yields, the guitar playing always displaying the same frantic approach. It is an intentionally oppressive methodology that demands commitment and deeper listening. Powering through, you soon experience the riffs transform, with the icy bitterness giving way to sorrowful passages (“Unveiled Light In The Cold Abyss”) and to ecstatically triumphant moments (“Wraith’s Ascent Through Ashen Skies”).

The production does a lot of heavy lifting here, and similar to the music, it walks the dichotomy between rawness and immediacy. The screeching, distorted vocals and furious guitars are at the centre, but despite their overwhelming presence, they do not overshadow the purposeful drumming and the impressive bass sound. Especially the latter is a key component, providing a sonic depth that is usually forsaken in black metal and also giving the record a heavier attitude.

If there is one aspect missing in Pale Triumph of the Hidden Flame, it is that some heavier, slower parts could further uplift the triumphant sense that parts of the record point toward. Something akin to “Crushing the Sceptre” or “Twilight Breath of Satan” would further deepen their sound and showcase a different gear. Regardless, Geheimnisvoll have produced a record steeped in tradition, drunk in its ferocity, yet never forgetting its melodic undercurrents. – Spyros Stasis

Gorrch – Stillamentum (Avantgarde Music)

Gorrch’s sparse discography highlights their creative evolution. The Italian act has been circling the dissonant black metal sound architected by Deathspell Omega since their inception. Through the years, they moved from the feral approach of their 2013 self-titled debut EP toward a more nuanced sound.

Their debut full-length, Nera Estasi, followed the same relentless methodology, its dissonance still coupled with the traditional black metal riffing, but something different was brewing under the surface. Their technical aptitude was improving, forcing the compositions toward a more brutally structured setting. That became more prominent on their following EP, Introverte, where they started to embrace the more complex songwriting of fellow Italian act Ad Nauseam.

Stillamentum further elaborates on this mould, not deviating from their brew of atmospheric, highly dissonant black metal. The record’s strongest component is its riffing, a malformed version of the traditional black metal approach that the dissonant black and death metal scenes have now mastered. Where Gorrch differentiate, however, is in their stricter attachment to the original black metal form. While the dissonant black metal scene has in part mutated into a Gorguts-influenced death metal space, Gorrch retain their blackened edge. What helps them here is the rhythmically accelerated mechanic found in early Krallice records, giving their riffing an amorphous quality, closer to the original textural black metal. 

In embracing this mechanic, they also transform the restrictive dissonant form into something more fluid. It is a contradiction, as the angular riffs are orchestrated in such a way as to follow a defined flow. That is one of Stillamentum‘s greatest strengths, its ability to organically evolve not only from one song to the next, but from one part to the next.

“Phlegma” is an excellent example of this ability, with the mid-section of the track aptly shifting from this wall of guitar setting, its heavy layers dissolving, and into a mid-tempo, nearly militaristic progression as poisonous guitar bends pierce through the murk. It is something that might go against expectations of volatility in dissonant death and black metal. Still, in a scene where everyone keeps trying to deliver the most extreme, near-indigestible compositions, it is refreshing to see Gorrch put a more organic flow first.

It is these simple mind shifts that set Stillamentum apart. Gorrch’s sparse output, this being the first new music from the band in four years and their first record in a decade, has given the necessary time to the band. Time to both improve their technique and fully understand what they are after. They retain their respect for the orthodox origin of their sound; the choirs in “Nimbus” and “Cryptae” speak to that lineage. At the same time, they are fascinated by the pushing of limitations that Ad Nauseam or Imperial Triumphant have achieved.

‘They do not forget that for them, what matters most is compositional structure. That makes their songs hit hard, their strange melodies sticking with you rather than dissipating after each listen. Does it make it novel? Not really. But you will be hooked to these arpeggios in “Vorago” for a very long time. – Spyros Stasis

Incandescence – Hors Temps (Profound Lore)

Incandescence have always strived for a modern black metal take. Their 2022 full-length, Le coeur de l’homme, is the culmination of a decade-long gestation. Back in 2013, the Canadian act led by one of the most talented musicians in the scene, Philippe Boucher (Beyond Creation, Chthe’ilist, and Dissimulator, among others), was already ahead of the game. Their combination of melodic and atmospheric black metal with more dissonant elements was fresh, and it remains so in their newest work, Hors Temps.

At the core of Incandescence lies a strong allure toward the dissonant technology pioneered by Deathspell Omega. The guitar riffs adhere to this form, their angular approach arriving with a striking force. It awakens a polemical quality, further enhanced by the meticulous, nuanced drum performance. It gives “L’enfer existe” an extra gear, as the blazing blastbeats kick in and lend the track a relentless aggression. These days, this might be a tired recipe that many have adopted. However, Incandescence have been studying this sound for over a decade now, and they know how to make it their own.

The dissonant mechanics are contorted, their trademark technique forced to step away from its cacophonous characteristic and into something more immediate and melodic. That is a key component for Incandescence, and it has been part of their sound since the early days of Abstractionnisme, but it has never been as fully fleshed out as it is now. In this mode, they tap into black metal’s epic tradition, with “Le Vide” unleashing soaring melodies that awaken a grand essence. Their philosophy draws on a rich lineage but is adapted to fit their own temperament, not simply rehashed.

That is where their native Quebecois black metal scene comes through. Incandescence’s debut was released the same year as Gris’s (maybe) final record, À l’âme enflammée, l’äme constellée…. Although they sound vastly different, they do tap into the sorrowful tone of that scene. The slower parts of “Affranchissement” with their doom-laden progression are a testament to this heritage. At the same time, the overall songwriting approach draws on the more modern vision that Miserere Luminis have cultivated.

The one downside for Incandescence is that they still rely quite heavily on their influences. While their adaptation and integration of different traditions are apt and, to a certain extent, novel, they have not fully incorporated them. That hinders them slightly, making them appear at the surface closer to a band like Miserere Luminis than they actually are. However, Hors Temps is their finest moment yet, a modern black metal record informed by immersive atmospheres and immediate melodic payoffs. – Spyros Stasis

Slagmaur – Hulders Ritual (Prophecy Productions)

At first glance, the story of Slagmaur appears as one of heresy and opposition. Disenchanted by the sense of exhilarating energy that dominates black metal, Slagmaur opted for a slower, more deliberate style. Swapping energy for atmosphere and merging industrial machinations with contorted folk themes resulted in a discography steeped in their unique brand of off-kilter mysticism.

Hulders Ritual, the band’s fourth full-length, does not alter Slagmaur’s vision, but rather deepens it. The Thorns-ian guitar technology is the foundation, defining not only the chord progression but also the timbre and atmosphere. The dissonant quality radiates a sense of deviancy, one that, while akin to more recent orthodox black metal efforts, has a longer lineage. The start of “Huldergeist” connects these dots, showing the discordant scale and tremolo-picked technique delivers a thundering reminder of orthodoxy’s origin.

What contributes further to the timbre and atmosphere is the impeccable production. The distortion applied to the guitars is exemplary, augmenting their dissonant quality and enhancing their lo-fi aesthetic. At the same time, both vocals and drums are crystal clear and perfectly balanced, so they are not overwhelmed by the guitars. The result here is two-fold. On one hand, the guitars craft an all-devouring wall of sound, while the industrial mechanics applied to the rhythm section awaken a sense of ritualism. It is the foundation for Slagmaur’s atmosphere, an all-encompassing, slow-moving procession that demands the listener’s immersion.

While letting go and sinking into Hulders Ritual might not be an easy task, the guitar quality being too harsh, or the progression too slow, it is a deeply rewarding experience, with some surprises. The economic tempo is not dogma, and Slagmaur indulge in heavier, mid-tempo grooves with “Wildkatze” and even more volatile explosions with “Warlok”. It is a sudden shift, but one that releases the ceremony’s building pressure and rewards the listener’s attention.

Similarly, the industrial backbone retreats, and what is exposed is a magical dimension drenched in tradition. The clean vocals of “Huldergeist” project a folk quality that recalls the early, rural days of the genre. Similarly, the keyboard part in “Hexen Herjer” breaks the oppressive distortion, with a part that could have come out of Aspera Hiems Symfonia, adding an ethereal quality to this otherworldly dream.

It is easy to see Slagmaur as an avant-garde black metal band that pushes into the industrial and atmospheric fields, but they are actually an act that rekindles an earlier flame of the genre. It is the early Thorns-ian flame that is responsible for much of the genre’s foundational practices, its dedication to dissonance and atmosphere, and its closer relation to industrial music. So, while Slagmaur by today’s standards might appear heretical, a closer listen to Hulders Ritual will show that they are actually the bearers of a much earlier tradition. – Spyros Stasis

Vide – Aux Enfantes des Ruines (Antiq)

At the core of atmospheric and symphonic black metal, there is, or at least there should be, a tension between the earthy and the ethereal. Hylgaryss deeply understands this core component, and his debut record with Vide, Aux Enfantes des Ruines, continues his long tradition of exploring the agonistic relationship between atmosphere and melody on one side, and the genre’s raw beginnings on the other.

While Hylgaryss’s corpus of work frequently operates at the intersection of black metal and neoclassical, these manifestations usually appear in different forms. Black Fortress taps into dungeon synth, Le Prochain Hiver combines raw black metal with operatic vocals, and Sainte Obyana du Froid continues the harsh tradition of Hylgaryss most potent project, Winter Funeral. For Vide, Hylgaryss finds the sweet point between many of the aforementioned acts and the neoclassical aspirations of Dark Sanctuary.

Aux Enfantes des Ruines first sets the mood, making a statement that the children’s choir will be central to the record, not just a background element. Similarly, the piano and keyboard arrangements act as a point of gravity for the compositions, not only by offering a delicate essence that counterbalances the blackened harshness, but also by serving as a guiding force.

That is where the melancholic, at the same time magical quality of the record originates, as the progression of “Hymne au vide” drifts into a dreamlike setting. It feels like the compositions have been written with these arrangements as their foundation, on a keyboard rather than a guitar, which makes them stand out more. Even in the times when the weight shifts toward blackened ferocity, it is still the absent choir and keyboards that dictate the progression.

In contrast to many works of atmospheric or symphonic black metal, when Vide tap into the black metal form, they fully commit to it. They unearth its raw and relentless essence, with the harsh vocals tearing through the tremolo riffs, leaving behind any sense of melody. When they do so in “Messe des Ruines – Le refuge”, the result is pure rage: the dreamlike essence turns nightmarish, the distortion adds venom. 

Equally splitting the record between these two edges would be interesting, but it could make the result too volatile. Instead, Vide ease things along by taking on the teachings of the French underground scene and its strong commitment to a melodically inclined, yet still ferocious, black metal. The result here is an epic sense of melody, best illustrated through “Nourir la haine”, where the narrating tales of woe and loss awaken a folkloric point of origin. 

The undercurrent that feeds Aux Enfantes des Ruines is rooted in melancholy. It originates in the orchestral arrangements and the choir, slowly seeping into the black metal essence. While the black metal parts could still stand on their own, it would be difficult to see how the record as a whole would retain its structure. It creates an interesting hierarchical dependency, which inverts what is usually found in orthodox black metal. There, the choirs are usually supplementary material. For Vide, they are vital, and it is this distinction that makes Aux Enfantes des Ruines enticing. – Spyros Stasis

Worm – Necropalace (Century Media)

Worm’s discography is an ascent from the extreme underground into the mainstream metal scene. In the early days, the band’s main man, Phantom Slaughter, showed an obsession with the extreme death/doom sound. The results in Evocation of the Black Marsh and Gloomlord rejoiced in the slow gore of dISEMBOWELMENT, while its blackened extensions brought to mind the glory days of Goatlord.

The first big change came with Foreverglade, where the melodic inclinations began to flirt with a slightly mellow sound. Worm had thus entered the realm of Unholy and Evoken, with a touch of very early Katatonia sentimentality. It also first introduced certain ideas, such as symphonic inclinations and more traditional heavy metal tropes, that, while serving a supportive role, felt like fertile ground for Worm’s future transformation.

This takeover is finally here, with the introduction of Phil Tougas and the Bluenothing EP and the split record with Dream Unending, turning what was once an inclination into a focal point. Still clinging to the death/doom aspect, both works show a deepening of the symphonic presentation and guitar hero mechanics. It is a definite departure from the band that plunged into the depths of deathly despair with a track like “Abysmal Dimensions”. However, it is only now with their newest work, Necropalace, that the transformation is complete.

There is still a weak connection to the past, a final clinging toward the gruelling death/doom force. The title track momentarily lapses into this mode, its progression harsh and unyielding. Much like Foverglade, it is not presented in its raw, stripped-down form but adorned with a melancholic lead work that evokes the Peaceville Three spirit, especially that of Paradise Lost. However, the keyboards here do not follow the same sorrowful tone of the aforementioned masters, but they find their inspiration in the crimson dreams of the Blood Divine’s debut, Awaken. There is an additional layer of theatricality at play, and this ties in to the main course of Necropalace.

For the first time in Worm’s discography, the symphonic black metal side takes over the reins. The keyboards do a lot of the heavy lifting here, at their most flamboyant coming through with the same theatrical edge found in Enthrone Darkness Triumphant, and an epic presence that moves closer to Emperor’s majestic territory, especially Anthems to the Welkin at Dusk. It is a sound that can become bloated, the disparate elements causing a cacophony, and as a result, the tracks lose their focus.

However, Worm navigate this without problem, and actually make this array of colours work in their favour. The keyboards set the scenery, then the vocal differences, ranging from clean to shrieks and growls, represent the cast of characters, and finally, acoustic guitars and timpani augment the background. The castle of Nosferatu is now complete with all its grim glory.

If there is one driving force behind Necropalace, it is ambition. It defines Worm’s evolution over the years and their compositions. It’s not only about escaping the underground and reaching a bigger audience. It is about crafting music that is appealing yet complex. That is the guitar work dichotomy. Impressive and verbose, it echoes with an 1980s sharpness. It is the same story with the solos, magnificently blazing through the dark symphonies.

The main parallel I see here is with Cradle of Filth and their early days. While sonic similarities are there, what the two acts share most is this raging ambition. Principle of Evil Made Flesh and Dusk and Her Embrace did adhere to more immediate expressions of black metal, but they did not do that at the expense of extremity or complexity.

Necropalace follows the same principle. It does not offer quick gratification, with echoing choruses and simple melodies. It instead relishes long-form compositions, atmosphere over impact, and linear progression that do not repeat themselves. This is where Worm prove that despite the changes, they are still reaching for something nuanced and complex. Even though it is the feverish dreams of Foreverglade that I will return to more often. – Spyros Stasis