Death metal could, at times, be described as an unfortunately stagnant genre, as modern bands have lacked for new ways to expand and evolve the sound from what Cannibal Corpse (and others like them) established decades ago. How refreshing, then, to see dissonant death metallers Ulcerate continuing to push themselves with each release, reaching new heights of atmosphere and brutality on 2024’s ‘Cutting the Throat of God.’ With the trio’s almost inhuman performances being the draw for many fans, it was no surprise to see The Garage in London full to bursting on Monday night, packed with listeners keen to see just how explosive and technically precise the band really are. The result? Ulcerate were everything we were hoping for, and so, so much more.

Before that were support act Fange, bringing their own brand of metal into the fold. The group’s lineup was striking, with no drummer to be found within the four-piece: instead, all the percussion was pre-programmed, leaving the live members to tackle guitars, bass and vocals. Fange’s fusion of avant-garde death metal with electronic elements was an intriguing one, and the unique drum sounds certainly gave them a niche— it must be said, however, that the lack of a live drummer brought the overall show down, and the group would almost certainly benefit from recruiting a fifth member. The pre-programmed drums consistently lacked the punch and energy of their human counterpart, sucking some of the energy out of the group’s increasingly wild breakdowns, and the glossy synths and guitar tones only worsened this feeling, smoothing over the group’s sound. 

As the set went on, it became clear that the real star of the show here was Fange’s more ambient moments: in between furious metal riffs, the group would indulge in soft synth patches, clean guitar melodies and tribal chanting, creating a surprisingly meditative mood. These sections even managed to blend seamlessly into the heavier passages by the end, as the breakdowns grew more ferocious and pummelling with each track: as the set came to a close, it could hardly be argued that the group weren’t deserving of some head-banging, even drum issues withstanding. The band themselves were certainly getting into it, thrashing around wildly from start to finish. Frontman Matthias Jungbluth, with his unfortunately cropped shorts, lack of a shirt and bizarre mannerisms, could easily be described as ‘Freddie Mercury on steroids’: whether this immersed you into the performance or ripped you out of it, it surely left an impression. The rest of Fange were no less wild, growling along to each track and swinging their instruments around. The group were odd, plain and simple, but were also a surprisingly natural choice for the show, even despite some clear issues with their sound.

Following that were Ulcerate (or, as one audience member described them, ‘the baldest band in metal’). The staging was more-or-less stripped back, mainly consisting of the ‘Cutting the Throat of God’ artwork displayed behind the band, who were dressed about as plainly as humanly possible. Much more impressive was the lights show, which consistently hit you with strobes and coloured back-lighting, creating a dazzling display that matched the group’s frenetic, untamed music. 

Ulcerate themselves weren’t the most dynamic on stage, only speaking to the audience at the very end of the show: that’s completely forgivable, however, as the trio’s technical prowess was more than enough visual entertainment. Paul Kelland’s bass had a sheer presence to it, almost like the sound was physically there in the room with you, and his growls were arguably even more monstrous and enveloping than on the band’s studio output. Michael Hoggard’s guitar playing, meanwhile, was a dizzying display of technique. Using live-looping, the band made it feel like there were ten guitars hitting you in each new riff, allowing Hoggard to build a towering obelisk of harmonies and lead parts throughout each song. The real star, however, was undoubtedly Jamie Saint Merat’s jaw-dropping drumming. Whether it be due to his insane double-kick ability or his immaculate cymbal work, the pounding of his snare or his surprisingly delicate playing in the more ambient sections, it’s easy to see why fans are hailing him as one of the best drummers in the genre. 

Such technically talent would all be for naught if the group didn’t have a decent crop of songs to use it in. Thankfully, after having just released one of the most explosive and phenomenal albums of the year, Ulcerate can’t have had a difficult time putting together an incredible setlist—tracks from ‘Cutting the Throat of God’ made up a significant portion of the night, to no-one’s disappointment. Opener ‘To Flow Through Ashen Hearts’ started the show off on a more menacing note, slowly building in intensity with each new guitar layer: just when you would think that they couldn’t get any heavier, Ulcerate continually exceeded expectations, elevating the climax of tracks like ‘To See Death Just Once’ or ‘Further Opening the Wounds’ to unfathomable heights. Some older tracks also had their chance to shine, with the band earning much-deserved mosh pits to ‘Stare Into Death And Be Still’ and the encore’s ‘Everything Is Fire.’ 

Ulcerate are death metal given form, here to inflict untold brutality and desolation on an unsuspecting world. The band are in absolute top-form in 2024, delivering not just an incredible new album, but some of the most intense and unstoppable live performances of the year as well. Throughout their London show, we spent most of the time simply bewildered at how technically dominant and sonically brilliant the act were, and our jaws have yet to be picked up from the floor. You owe it to yourself to see the trio perform: you’re not ready for what they have in store.