Ulcerate’s latest album, “Cutting the Throat of God,” is a testament to the band’s relentless evolution and mastery in the realm of dissonant death metal. Released by Debemur Morti Productions, this album continues the New Zealand trio’s tradition of creating music that is both technically intricate and atmospherically oppressive.
Ulcerate has always been known for their ability to craft a sound that feels like a slow, crushing weight. Their previous albums, such as “Stare into Death and Be Still” and “Shrines of Paralysis,” have set a high bar for the band, and “Cutting the Throat of God” does not disappoint. The album art, a deep blood-red reminiscent of “Shrines of Paralysis,” sets the tone for the music within—dark, brooding, and suffocating.
The album opens with “To Flow Through Ashen Hearts,” a track that immediately immerses the listener in Ulcerate’s signature sound. The song builds slowly, with hypnotic, soaring notes and disordered riffing, creating a sense of being stretched apart by the gravitational pull of a black hole. The track eventually descends into a hellish pit of guttural vocals and tremolo picking, setting the stage for the rest of the album.
“Cutting the Throat of God” is Ulcerate’s first seven-song album in some time, yet it still clocks in at over fifty minutes. The band achieves this by incorporating doom-metal inspired passages, adding a new layer of depth to their already complex sound. Tracks like “The Dawn Is Hollow” and “Further Opening the Wounds” showcase this blend of heaviness and atmosphere, with the former featuring catchy melodies and reverbed arpeggios, and the latter highlighting the band’s technical prowess.
Drummer Jamie Saint Merat continues to be a standout, delivering intricate and technical drumming that adds a dynamic layer to the music. His performance on tracks like “To See Death Just Once” and “Undying as an Apparition” is nothing short of breathtaking, providing a backbone that allows the band’s sound to breathe and evolve.
Guitarist Michael Hoggard’s playing is another highlight of the album. His signature arachnid-like tremolo riffs are unmistakable, and he manages to conjure deeply sorrowful and introspective moments out of these contorted harmonies. The title track, “Cutting the Throat of God,” is a perfect example of this, with its closing guitar melody leaving a lasting impression.
Vocalist Paul Kelland’s performance is equally compelling. His deep, menacing bellow adds a layer of existential dread to the album, particularly on tracks like “Transfiguration In and Out of Worlds,” where he explores themes of anxiety and panic. The lyrics, often touching on nihilistic and existential themes, are delivered with an air of sincerity and genuine care for the philosophy they explore.
The production on “Cutting the Throat of God” is top-notch, with Magnus Lindberg of Cult of Luna handling the mastering. The album’s balance of brutality and atmosphere is impeccable, making it a deeply resonant and emotionally impactful listen.
Ulcerate has always been a band that pushes the boundaries of what death metal can be, and “Cutting the Throat of God” is no exception. The album is a natural continuation of their previous work, yet it also feels like a new chapter in their discography. The melodic elements that have crept into their sound add a new layer of complexity, making this their most harmonic record to date.
For fans of the band, “Cutting the Throat of God” will feel like a welcome return to form, while also offering new and exciting elements to explore. For newcomers, this album serves as a perfect introduction to Ulcerate’s unique blend of technicality, atmosphere, and emotional depth.
In a genre that often prioritizes speed and brutality, Ulcerate stands out for their ability to create music that is both intellectually stimulating and emotionally devastating. “Cutting the Throat of God” is a powerful addition to their discography and a must-listen for anyone interested in the darker, more introspective side of death metal.
