The opening and closing tracks -- epic length at nearly 20 and 16 minutes, respectively -- employ dub production techniques that keep the styles and moods moving. "Sterilized," the title cut, most directly evokes various Laswell productions, notably Material and Laswell's Hear No Evil recording, with its use of sitar, viola, and tabla alongside turntables and Tony Maimone's bass. "Nut" features a jazzed-up rhythm section playing behind bluesy viola, while "Shift" starts out as a jazz vocal and mutates into several minutes of beautiful ambient looping. In fact, the constantly interesting loops are one of Out in Worship's finest traits, whether in the foreground or background. "Jam Jar Superstar" sounds sort of like Robbie Shakespeare jamming with Funkadelic, while the final track, "Navajos," has another reggae-type movement and a pulsing-fuzz-bass-with-turntables movement, punctuated by those fabulous loops.
Far from being distracting, Out in Worship's embrace of a multitude of styles provides for a challenging but enjoyable listen, especially for those with post-rock or experimental leanings.