Review by Maciek on March 3, 2021.

This band caught my attention as soon as Listenable Records uploaded a teaser for the album with just a few sounds of the title track. So before I even got to listen to the full track I decided to check what else is available from this band and gave Abysmal a few rounds on my speakers, and found out that they're joining the list of my favorite black metal bands. When I finally got to listen to the full 'The Prophet' track I had a similar feeling to when I heard the first sounds of "Mark of the Necrogram" by Necrophobic (which, by the way, is quite close stylistically to Thron) - it was time to start waiting for their newest release a bit more impatiently.

To describe their style I'd say that the band is playing black metal more similar to Swedish bands than Norwegian, with more catchy melodies and, yes, since I like it so much, SOLOS!!! But apart from recognisable elements helping to map this band on the metal spectrum this style definitely has some similarities to Dark Fortress. That kind of black metal, which makes you think at the beginning of the song "ah, yeah, melodic black metal, cool!", but, like for example around 1:48 of the first track, you think "oh, this is really good, black metal with these riffs sounds amazing!". Or when you listen to 'To Dust' and reach the 3:12 mark. It must be some German spicing that when added to black metal gives it more variety, makes it richer, but at the same time very catchy.

The rhythm section has everything that metal needs - plenty of blast beats, some mid-tempo parts and some slower parts, but most of the time brilliant double bass drums keeping each track dynamic and interesting. 'Into Disarray' is a good example of how many different rhythms can keep the tempo of the song. No song is keeping the same pattern from the beginning to the end and quite often ends at a completely different pace than it started. ZIV and SXIII are a solid base for all of these tracks, no matter if they play fast or slow. They are accompanied by a big variety of riffs, tremolos, chords and interesting ways of using whammy. Each track has a different approach to extreme music, TVII and PVIII use different techniques so easily that it's amazing how well all of their ideas sound on one album. And SAMCA's vocals also change depending on what the rest of the band is doing, sounding sometimes similar to Anders from Necrophobic, sometimes like angry Satyr or at some point even reminding the evil shrieks of Mortuus from Marduk. The track that deserves special attention is definitely 'The Reverence'. It's truly epic with its catchy melodies, some of them played on clean guitars, some choir passages and, as all other tracks, ending on a completely different note than at the beginning of the track. And obviously it's got solos, so it went to the list of my favourite tracks of all times immediately.

I would recommend this album to fans of Necrophobic, Dissection and Dark Fortress. This album is going on the list of my top albums of the year. And I strongly recommend checking out their previous full-length Abysmal, too.

Rating: 10 out of 10

Review by Maciek on March 3, 2021.

This band caught my attention as soon as Listenable Records uploaded a teaser for the album with just a few sounds of the title track. So before I even got to listen to the full track I decided to check what else is available from this band and gave Abysmal a few rounds on my speakers, and found out that they're joining the list of my favorite black metal bands. When I finally got to listen to the full 'The Prophet' track I had a similar feeling to when I heard the first sounds of "Mark of the Necrogram" by Necrophobic (which, by the way, is quite close stylistically to Thron) - it was time to start waiting for their newest release a bit more impatiently.

To describe their style I'd say that the band is playing black metal more similar to Swedish bands than Norwegian, with more catchy melodies and, yes, since I like it so much, SOLOS!!! But apart from recognisable elements helping to map this band on the metal spectrum this style definitely has some similarities to Dark Fortress. That kind of black metal, which makes you think at the beginning of the song "ah, yeah, melodic black metal, cool!", but, like for example around 1:48 of the first track, you think "oh, this is really good, black metal with these riffs sounds amazing!". Or when you listen to 'To Dust' and reach the 3:12 mark. It must be some German spicing that when added to black metal gives it more variety, makes it richer, but at the same time very catchy.

The rhythm section has everything that metal needs - plenty of blast beats, some mid-tempo parts and some slower parts, but most of the time brilliant double bass drums keeping each track dynamic and interesting. 'Into Disarray' is a good example of how many different rhythms can keep the tempo of the song. No song is keeping the same pattern from the beginning to the end and quite often ends at a completely different pace than it started. ZIV and SXIII are a solid base for all of these tracks, no matter if they play fast or slow. They are accompanied by a big variety of riffs, tremolos, chords and interesting ways of using whammy. Each track has a different approach to extreme music, TVII and PVIII use different techniques so easily that it's amazing how well all of their ideas sound on one album. And SAMCA's vocals also change depending on what the rest of the band is doing, sounding sometimes similar to Anders from Necrophobic, sometimes like angry Satyr or at some point even reminding the evil shrieks of Mortuus from Marduk. The track that deserves special attention is definitely 'The Reverence'. It's truly epic with its catchy melodies, some of them played on clean guitars, some choir passages and, as all other tracks, ending on a completely different note than at the beginning of the track. And obviously it's got solos, so it went to the list of my favourite tracks of all times immediately.

I would recommend this album to fans of Necrophobic, Dissection and Dark Fortress. This album is going on the list of my top albums of the year. And I strongly recommend checking out their previous full-length Abysmal, too.

Rating: 10 out of 10

Review by Sam on January 30, 2026.

First of all, I have to shout out the absolutely brilliant cover artworks chosen by this band. The simple black and white on the front of this EP, entitled Reeking Gunk Of Abhorrence, depicting a moldy, cobweb-enshrouded, chopped-in-half corpse superlatively representing the analog, old school death metal contained herein. The logo is also pretty sweet, done in that indecipherable pencil-drawn style that slowly becomes legible the longer you stare at it. The cover sketch of the first EP strong>Verminosis was also nicely done, with the logo on that one a direct nod to Entombed, one of Cryptworm’s myriad influences.

As for the music, the first thing that grabs my attention is the voice of Tibor Hanyi. It appears to have descended a couple of octaves to certifiable Antti Boman levels compared to the debut, so this is a welcome change. Drummer Joe Knight still isn’t playing any double bass, and I’m still not complaining. He will, however, deliver some slow blast beats as well as some speedier Mick Harris stylings. The analogous production values remain intact, offering a warm yet decayed overall sound and vibe that is 100% listenable.

Although album opener 'Festering Maggot Infestation' is a serviceable demonstration of OSDM chops and songwriting, it wasn’t until the 4:20 mark of the title track that I said, “Uh oh, here comes, this gonna be trouble,” a la legendary blues man Mashed Potato Johnson. The abyssal yawp of Tibor over the ever spiraling low string symphony confirms that the ideology of Cryptworm continues to evolve. 'Self-Dismemberment' (fucking killer song title!) is propelled by one-footed blasts, Slayer beats, and tornadic riffage that would be sure to put a smile on the face of Chris Reifert. The riff to end all riffs, however, can be found in the introductory moments of EP closer 'Cesspool Of Perpetual Decay'. A ringing palm muted open note augmented with some beefy floor toms morbidly festers into an evilly tremolo sequence, and it just flat out rules. This damnable duo then rocks your face for five minutes with a torrential downpour of desolation that led me to reach directly for the repeat button. No solos. None needed.

All I can say about these dudes is wow. I had kind of given up on contemporary death metal acts, but Cryptworm is a time machine that’ll beam you instantaneously back to 1989, no questions asked. The fact that this band exists and even has an album coming out this year gives me hope not only for the death metal genre, but for humanity itself. 

Rating: 8.5 out of 10

Review by Alex on May 20, 2020.

Cryptworm like the name would imply, has taken some time to get where they're are now as a band, though foreseeable it may be the time and effort sacrificed to arrive at this junction, the slug is here, nonetheless. Due out on Me Saco Un Ojo, is the band's latest EP that stomps through slushy swamps of sickness, Reeking Gunk of Abhorrence. If you're new to bands like Hyperdontia, Cerebral Rot, Undergang and even Ulcerot, then you have much catching up to do, because here in the death metal underbelly, things move rather fast, making it easy to get left behind.

It’s the mud they like, and often attributed to mud are its sluggish and dirty properties, which you will find to be the sonic recurrence on Reeking Gunk of Abhorrence. Offering a short yet satiating collection of 4 messy meals, Cryptworm stir-up a nasty sapropel of deep gutturals, sloppy drumming as if the sticks were covered in slime; and a drunken regurgitated goo of guitar riffs. Appearing to be within the puss-filled parameters of Hyperdontia and Undergang, opening track 'Festering Maggot Infestation' arrives with a most diabolical canker of deformation, ripe with a nauseating stench of old school death metal, Cryptworm vouch the helminth is very much alive, active and even more hazardous to any living organism than before.

Title-track 'Reeking Gunk of Abhorrence' maintains the catchy yet filthy contour that prevailed over their debut EP Verminosis and here it's no different, though I would say the production appears slightly more definitive to unearth and sustain the material's effect. Some sections of the music such as on 'Festering Maggot Infestation' and 'Cesspool of Perpetual Decay' have a head-bashing, fist-pumping, waist-swinging, up roaring type of groove to it that keeps the music moving, so you know its 20-minute run feels even shorter. If you love the deep, stomachy vocals like what you'd hear on a Demilich or Undergang, then Reeking Gunk of Putrefaction has you covered in venomous disgorge; get swallowed!

Since sprouting from an infected sore somewhere in the United Kingdom, Cryptworm's sound and aesthetic without doubt was that region's answer to the American underground of death metal. What other sphacelated things the band holds are yet to be revealed.

Rating: 8.2 out of 10

Review by Sam on January 30, 2026.

First of all, I have to shout out the absolutely brilliant cover artworks chosen by this band. The simple black and white on the front of this EP, entitled Reeking Gunk Of Abhorrence, depicting a moldy, cobweb-enshrouded, chopped-in-half corpse superlatively representing the analog, old school death metal contained herein. The logo is also pretty sweet, done in that indecipherable pencil-drawn style that slowly becomes legible the longer you stare at it. The cover sketch of the first EP strong>Verminosis was also nicely done, with the logo on that one a direct nod to Entombed, one of Cryptworm’s myriad influences.

As for the music, the first thing that grabs my attention is the voice of Tibor Hanyi. It appears to have descended a couple of octaves to certifiable Antti Boman levels compared to the debut, so this is a welcome change. Drummer Joe Knight still isn’t playing any double bass, and I’m still not complaining. He will, however, deliver some slow blast beats as well as some speedier Mick Harris stylings. The analogous production values remain intact, offering a warm yet decayed overall sound and vibe that is 100% listenable.

Although album opener 'Festering Maggot Infestation' is a serviceable demonstration of OSDM chops and songwriting, it wasn’t until the 4:20 mark of the title track that I said, “Uh oh, here comes, this gonna be trouble,” a la legendary blues man Mashed Potato Johnson. The abyssal yawp of Tibor over the ever spiraling low string symphony confirms that the ideology of Cryptworm continues to evolve. 'Self-Dismemberment' (fucking killer song title!) is propelled by one-footed blasts, Slayer beats, and tornadic riffage that would be sure to put a smile on the face of Chris Reifert. The riff to end all riffs, however, can be found in the introductory moments of EP closer 'Cesspool Of Perpetual Decay'. A ringing palm muted open note augmented with some beefy floor toms morbidly festers into an evilly tremolo sequence, and it just flat out rules. This damnable duo then rocks your face for five minutes with a torrential downpour of desolation that led me to reach directly for the repeat button. No solos. None needed.

All I can say about these dudes is wow. I had kind of given up on contemporary death metal acts, but Cryptworm is a time machine that’ll beam you instantaneously back to 1989, no questions asked. The fact that this band exists and even has an album coming out this year gives me hope not only for the death metal genre, but for humanity itself. 

Rating: 8.5 out of 10

Review by Alex on May 20, 2020.

Cryptworm like the name would imply, has taken some time to get where they're are now as a band, though foreseeable it may be the time and effort sacrificed to arrive at this junction, the slug is here, nonetheless. Due out on Me Saco Un Ojo, is the band's latest EP that stomps through slushy swamps of sickness, Reeking Gunk of Abhorrence. If you're new to bands like Hyperdontia, Cerebral Rot, Undergang and even Ulcerot, then you have much catching up to do, because here in the death metal underbelly, things move rather fast, making it easy to get left behind.

It’s the mud they like, and often attributed to mud are its sluggish and dirty properties, which you will find to be the sonic recurrence on Reeking Gunk of Abhorrence. Offering a short yet satiating collection of 4 messy meals, Cryptworm stir-up a nasty sapropel of deep gutturals, sloppy drumming as if the sticks were covered in slime; and a drunken regurgitated goo of guitar riffs. Appearing to be within the puss-filled parameters of Hyperdontia and Undergang, opening track 'Festering Maggot Infestation' arrives with a most diabolical canker of deformation, ripe with a nauseating stench of old school death metal, Cryptworm vouch the helminth is very much alive, active and even more hazardous to any living organism than before.

Title-track 'Reeking Gunk of Abhorrence' maintains the catchy yet filthy contour that prevailed over their debut EP Verminosis and here it's no different, though I would say the production appears slightly more definitive to unearth and sustain the material's effect. Some sections of the music such as on 'Festering Maggot Infestation' and 'Cesspool of Perpetual Decay' have a head-bashing, fist-pumping, waist-swinging, up roaring type of groove to it that keeps the music moving, so you know its 20-minute run feels even shorter. If you love the deep, stomachy vocals like what you'd hear on a Demilich or Undergang, then Reeking Gunk of Putrefaction has you covered in venomous disgorge; get swallowed!

Since sprouting from an infected sore somewhere in the United Kingdom, Cryptworm's sound and aesthetic without doubt was that region's answer to the American underground of death metal. What other sphacelated things the band holds are yet to be revealed.

Rating: 8.2 out of 10

Review by Sam on January 30, 2026.

First of all, I have to shout out the absolutely brilliant cover artworks chosen by this band. The simple black and white on the front of this EP, entitled Reeking Gunk Of Abhorrence, depicting a moldy, cobweb-enshrouded, chopped-in-half corpse superlatively representing the analog, old school death metal contained herein. The logo is also pretty sweet, done in that indecipherable pencil-drawn style that slowly becomes legible the longer you stare at it. The cover sketch of the first EP strong>Verminosis was also nicely done, with the logo on that one a direct nod to Entombed, one of Cryptworm’s myriad influences.

As for the music, the first thing that grabs my attention is the voice of Tibor Hanyi. It appears to have descended a couple of octaves to certifiable Antti Boman levels compared to the debut, so this is a welcome change. Drummer Joe Knight still isn’t playing any double bass, and I’m still not complaining. He will, however, deliver some slow blast beats as well as some speedier Mick Harris stylings. The analogous production values remain intact, offering a warm yet decayed overall sound and vibe that is 100% listenable.

Although album opener 'Festering Maggot Infestation' is a serviceable demonstration of OSDM chops and songwriting, it wasn’t until the 4:20 mark of the title track that I said, “Uh oh, here comes, this gonna be trouble,” a la legendary blues man Mashed Potato Johnson. The abyssal yawp of Tibor over the ever spiraling low string symphony confirms that the ideology of Cryptworm continues to evolve. 'Self-Dismemberment' (fucking killer song title!) is propelled by one-footed blasts, Slayer beats, and tornadic riffage that would be sure to put a smile on the face of Chris Reifert. The riff to end all riffs, however, can be found in the introductory moments of EP closer 'Cesspool Of Perpetual Decay'. A ringing palm muted open note augmented with some beefy floor toms morbidly festers into an evilly tremolo sequence, and it just flat out rules. This damnable duo then rocks your face for five minutes with a torrential downpour of desolation that led me to reach directly for the repeat button. No solos. None needed.

All I can say about these dudes is wow. I had kind of given up on contemporary death metal acts, but Cryptworm is a time machine that’ll beam you instantaneously back to 1989, no questions asked. The fact that this band exists and even has an album coming out this year gives me hope not only for the death metal genre, but for humanity itself. 

Rating: 8.5 out of 10

Review by Alex on May 20, 2020.

Cryptworm like the name would imply, has taken some time to get where they're are now as a band, though foreseeable it may be the time and effort sacrificed to arrive at this junction, the slug is here, nonetheless. Due out on Me Saco Un Ojo, is the band's latest EP that stomps through slushy swamps of sickness, Reeking Gunk of Abhorrence. If you're new to bands like Hyperdontia, Cerebral Rot, Undergang and even Ulcerot, then you have much catching up to do, because here in the death metal underbelly, things move rather fast, making it easy to get left behind.

It’s the mud they like, and often attributed to mud are its sluggish and dirty properties, which you will find to be the sonic recurrence on Reeking Gunk of Abhorrence. Offering a short yet satiating collection of 4 messy meals, Cryptworm stir-up a nasty sapropel of deep gutturals, sloppy drumming as if the sticks were covered in slime; and a drunken regurgitated goo of guitar riffs. Appearing to be within the puss-filled parameters of Hyperdontia and Undergang, opening track 'Festering Maggot Infestation' arrives with a most diabolical canker of deformation, ripe with a nauseating stench of old school death metal, Cryptworm vouch the helminth is very much alive, active and even more hazardous to any living organism than before.

Title-track 'Reeking Gunk of Abhorrence' maintains the catchy yet filthy contour that prevailed over their debut EP Verminosis and here it's no different, though I would say the production appears slightly more definitive to unearth and sustain the material's effect. Some sections of the music such as on 'Festering Maggot Infestation' and 'Cesspool of Perpetual Decay' have a head-bashing, fist-pumping, waist-swinging, up roaring type of groove to it that keeps the music moving, so you know its 20-minute run feels even shorter. If you love the deep, stomachy vocals like what you'd hear on a Demilich or Undergang, then Reeking Gunk of Putrefaction has you covered in venomous disgorge; get swallowed!

Since sprouting from an infected sore somewhere in the United Kingdom, Cryptworm's sound and aesthetic without doubt was that region's answer to the American underground of death metal. What other sphacelated things the band holds are yet to be revealed.

Rating: 8.2 out of 10