Reviews list for Worm - Bluenothing (2022)

I've been a fan of Worm for a while now and own physical copies of their last two full-length albums, so I went into this 26 minute EP with a degree of anticipation. Well, it seems like this is intended as a bridging piece as the band expand their ever-developing sound even further and marks a significant evolution in their musical development. This latest development seems courtesy of the addition of new guitarist Philippe Tougas (aka Wroth Septentrion) who has replaced Nihilistic Manifesto who was brought in for previous album, Foreverglade, and who has a mean line in guitar hero soloing techniques.

Bluenothing comprises four tracks, by far the longer of which is the opening title track, weighing in at eleven minutes, and which constitutes the highlight of things. It is again based on slow, death doom riffing with deep sonorous growls alternating with black metal-like shrieks for vocals, but it takes on a more expansive dimension with the addition of atmospheric keyboards and, most strikingly, some soaring lead work that seems derived from classic heavy metal or even neoclassical metal axemen, courtesy of Wroth Septentrion. There is a dichotomy at work on the track that comes from the heavy bottom end and growling vocals being heavily contrasted by the washed-out, airiness of the keyboards and the soaring nature of the lead work for a striking layered effect. I get a bit of a My Dying Bride vibe from Bluenothing without the cloying theatricality the Yorkshire gothic death doomers too often revel in.

The other three tracks risk becoming an aside when cast in the shadow of the opener, but Centuries of Ooze II, although shorter, is every bit as dramatic and impressive as the opener. In similar style it utilises the thick, crawling riffs and growling vocals of death doom to provide a base on which to build the track, overlaying this formidable bottom end with atmospheric synths, a clean, chant-like vocal refrain and more of those searing, soaring guitar licks. This does actually sound like an evolution in death doom and Worm seem to have succeeded in carving out a niche for themselves that few others are currently occupying.

The third track, Invoking the Dragonmoon, actually sounds like a demo of the band trying out the new guitar lead style and isn't much more than a bit of a neoclassical exercise in guitar hero hystrionics, but does kind of inform the listener of where the band are coming from and what they are intending to do with it. The closer, Shadowside Kingdom, has an extended atmospheric intro utilising synths, distant-sounding clean vocals, acoustic guitar and more of the new-style lead work before exploding at the halfway mark into a symphonic black metal blast, with more than a nod to the bands origins as a black metal solo project, perhaps as band founder Phantomslaughter says goodbye to that side of the project for good - who knows?

Overall this was an interesting listen as it seems to be teasing a possible new direction for Worm and whilst it has plenty of merit in it's own right, it has opened up more questions than answers and has made me even more impatient for a new Worm full-length to see where all this promise may yet lead us.