Worm – Bluenothing

/ 1 Comment / By :
The most anticipated return this year comes from Floridian phantom horde Worm who found a way to summon ancient inspiration from the realm of black/death/doom. Just one year after releasing its phenomenal album 'Foreverglade' mastermind, multi-instrumentalist and vocalist Phantomslaughter reveals the uncanny nature of his composition. With guitarist Nihilistic Manifesto and Wroth Septentrion A.K.A. Philippe Tougas (Atramentus, Chthe’ilist, VoidCeremony, and Funebrarum) he weaves a cosmic tapestry that redefines the sonic direction of Worm’s music. The newest EP 'Bluenothing' features 4 cuts offering an epoch of transition. There are also several guest musicians like bassist Necreon, L. Dusk (drums) and Charlie Koryn (drums).

Worm delves deeper into the cosmic and ethereal domain demonstrating an unprecedented take on symphonic black metal. Like the witch’s searing cauldron the music invites a malicious mood. What was unspeakable, now seems to manifest purely as some ancient ceremonial phenomenon. Yet the ethereal synth arrangements and brooding riffs materialize into an uncanny atmosphere that only Phantomslaughter and Nihilistic Manifesto can conjure. The lush textures of the guitars create a cosmic painting as the softly crashing drums and the soaring shredding guitar solos imbue the listener’s psyche on the opening track Bluenothing”.

From the cosmic themes saturated with celestial compositional proportions the drums slowly trudge, blending the elements of death/doom and black metal into one cohesive sound. The lofty guitar arrangements ooze dark riffs and wondrous otherworldly melodies emanate through the ominous layers of the synth. Mysterious haunting vibes cascade like a scarlet glow and dance with the spectre of the unfolding illusion. Heavy guitar dirges enhance the dark atmospheric guitar licks, adding depth to the epic scale of the atmospheric overtures. The technical side of the guitars is greatly sated with dark melodies. The guitar solos on the entire EP are beautifully layered, and the riffs perfectly enhance the atmosphere and the dark ominous surrounding of the synth. The music overflows with multilayered textures.

The sonic proportions of ‘Bluenothing’ are meticulously balanced between black doom and death/doom metal, demonstrating a natural transition into the dark ominous realms of symphonic black metal. The gloomy march of the guitars on the following track ‘Centuries of Ooze II’ is where Worm frames its effort to create a sensibility akin to the style of funeral doom. The riffs on this track are extracted from the theme of ‘Foreverglade’. The guitars create a woeful atmosphere with the slow pacing of the drums and the guitars capture the enthralling epics of funeral doom. Worm explores the many facets that now seem to surface from the hidden depths. Although the musical patterns of the song follow the blueprint of ‘Centuries of Ooze’, the composition of the church organ in the beginning moments of this track sounds menacing.

The slow drum poundings master a fine cadence. These slower tempos allow the instruments to shine with the low guttural growls making it immensely dark. The guitars churn out slow dirges that work in tandem with the plodding drums, while the emphasis on shredding solos slither a mournful requiem. The magisterial juxtaposition of sorrowful themes is on display: the first two tracks are laden with thick guitar dirges as they revolve around the central themes of ‘Foreverglade’. Where the guitars and vocals serve as key elements to the song layers for the atmosphere to build upon, the drumming is absolutely dramatic.

Bluenothing’ resonates with sepulchral melodies. Worm  has  managed to create dense, dark uncanny surroundings drawing influences from funeral doom. The lead guitars are splendid and showcase the talent of guitarist Wroth Septentrion. His cleaving guitar solos, virtuose guitar technique and synth arrangements provide dimensional layers to the framework. The short interlude cut ‘Invoking the Dragonmoon’ combines the elements of dungeon synth and guitar arpeggios radiating the lucidity effect of spectacular splendor.

On the final track ‘Shadowside Kingdom’ mastermind Phantomslaughter captures the true essence of symphonic/atmospheric black metal, where he conjures the alteration in the overall sound. With the strumming clean guitars combined with the magical aura of the synth, the music unfolds in a grandiose quality.

Cruel, raspy black metal vocals contrast with raw riffs and drums erupting like a raging cauldron painting a ghostly galaxy. The heavy magnitude of the blasting drums is fluently executed, and the synth parts shine with soaring guitars taking a melodic orientation.


  • Music / Songwriting 9/10
  • Vocals / Lyrics 9/10
  • Mix / Production 9/10
  • Artwork & Packaging 10/10
  • Originality 10/10

With ‘Bluenothing’ the Floridian phantom horde now has reached the pinnacle of success, thus Worm closes the chapter and begins a new majestic epoch.

1 reply
  1. Brad Moore
    Brad Moore says:

    I painted this album cover, as well as the cover for Worm’s previous album, “Foreverglade.” This was a true collaboration. Each image was discussed, re-considered, dissected, and debated. There was a good amount of agreement and disagreement, but the end result is a matter of record. At first, it looked like I wouldn’t be able to cram this into my schedule, but we made it work. A true collaborative effort is composed of sweat and tears, but the end result is undeniable.


Leave a Reply

Want to join the discussion?
Feel free to contribute!

Leave a Reply

Your email address will not be published. Required fields are marked *