The album begins with the title track ‘Oozing Radioactive Vomition’ where Cryptworm emphasizes the subtle hints of Autopsy, Undergang and Demilich. There is a high quality showing the skills of the band in nasty grinding drums and sordid guitar riffs that make it quite infectious. Although the band continues to grasp the classic mid-tempo throughout the album’s thirty-five minutes, the trio delivers a filthy gore grind art of death metal. This is by no means your regular type of album as ‘Organ Snatcher’ offers a rotten platter of unrelenting grind. The rattling sound of the drums and buried bass guitar balance brutality and grooves, defining the songwriting style of the trio. The drums pummel the listener and you will feel you are being knocked back by the rattling drum snare. The slower passage in the track allows the guitars to shine and ensures that Cryptworm has got some tricks up its sleeve.

The atmosphere of the riffing is so dense and it adds layers to the guttural growls. Although many bands have tried to mimic the style of Demilich in the past, many have only managed to create an average iteration. Cryptworm prefers to play it safe with old-school primitive drumming. Some blast beats fester around here and there particularly in the track ‘Miasmatic Foetid Odour’. It has some nice organic riffing and up-tempo drums that follow the same composition. Most of the songs have an average time length of about five minutes and they flow well with the foulness of the guitars.

Cryptworm’s rotten filth is influenced by primitive death metal bands of Finland. As a matter of fact, the sophomore ‘Oozing Radioactive Vomition’ burrows from the putrid raw aesthetics of the early 90s. The band has somehow emerged from nowhere only to bring us back to the classic era. Thanks to Tibor Hanyi (bass, guitar, vocals) Joss Farrington (bass guitar) and Jamie Wintle (drums) for drawing these distinctive similarities on the sophomore.

‘Necrophagous’ delivers precise pummeling, albeit slightly slower than the previous ones, the guttural growls reeking out deep growling similar to Chris Barnes (Six Feet Under, Ex-Cannibal Corpse). Though the riffs are mostly heavy and low-tuned, but less infectious, the bass guitar is as audible as the drumming which is consistent and provides the backbone for the filthy riffs. ‘Engulfed by Gurgling’ begins faster and with a distorted wall of sound that delivers the right amount of reverb. The riffs are full of twists and tempo changes all over the place and there are some fast-blasting parts, the tremolos are used in some moments only to fit the tone.

The mixing of the instruments is done right and the production is perfect for a band that plays this style of old-school death metal. Cryptworm may have reached its potential of sounding brutal and somehow organic without foregoing the atmosphere being lacking. Despite the doomy intro of the final track, ‘Submerged into Vile Repugnance’ maintains its level of coherence, yet also ejects a filthy dose of riffing foulness into the composition. The brutality oozes in as the bass guitar provides thick layers to the disgusting growls, the pummeling drums maximize its blasting ability to sickening insanity and the tremolos fill the syringe.

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