The musical element featured three stand-up percussionists who hammered out industrial and tribal poly-rhythms accompanied by highly unorthodox electric guitar, synthesizers, sound effects and dueling vocalists.

Mostly self-produced (unusually packaged and laboriously handcrafted) works in visually stunning screen printed metal splattered with paint, urine, blood and other esoterica.

[4] The musicians would also mobilize their instruments on and off the stage into the middle of the audience (or outside), lighting explosives and hosing down the crowd with various liquids creating an atmosphere of celebratory abandon and mirth.

[9] In late 1999, the last Crash Worship performances were held in California, four being with the Master Musicians of Jajouka (in the Bay Area), the Aztlan Theatre (abandoned Los Angeles County Jail), and to a female only audience in San Francisco.

Members are now scattered around the U.S. in New Orleans, Portland, Tucson, New York City, San Diego and the Bay Area, active with their own solo and side projects.