1.Mutants That Live for One Day03:11
2.Gun-Handed Iron Killer02:51
3.Regeneration of Steel Organs05:16
6.Meatball Machine Story 02:17
7.S – 94 03:59
There is something enthralling about fictional accounts of future conflict between man and technology, lest it wouldn’t be such a popular theme in Sci-Fi literature and cinema. The notion of a servant that owes its existence to its master turning on him is an ironic eventuality, but one that is logical if the existence of A.I. is presupposed. While this theme is explored to a large extent in death metal, it usually comes about via some biological experiment that results in a monstrosity being unleashed on humanity, whereas a cold, steel body setting the world ablaze is a bit less common. But the young Russian act 7 H. Target has opted not only to delve into this theme, but use it as a vehicle for launching what is arguably the most unique and bizarre acts of genre melding to grace the slam-oriented side of brutal death metal, a style that is often averse to dabbling in technical forays, which would purportedly interfere with the heaviness factor upon which it relies so heavily. Be this as it may, 0.00 Apocalypse wants for nothing in terms of aggression, nor is it starved for brutally heavy slam riffs, rather it is an album that takes slam to an entirely different place.
In stark contrast to the likes of more deathcore oriented bands that dabble in technical and progressive strains of insanity such as Rings Of Saturn and Abiotic, this album manages to cross over into a whole other plain of sonic existence without heavy reliance on flashy lead breaks (though there are a few notable ones) or keyboards. Instead, the guitars are utilized in a manner that doesn’t outright leap away from slam territory, but simply builds off the concept of using pinch harmonics for occasional detailing by using additional articulations of sound that expand the horizons of an existing formula. Some of these include elongated pitch bending that sounds similar to certain machine noises, whereas others are fragmented tech. lead fills that simulate computer processing noises, but despite their prevalence and also a heavy amount of frenetic blast sections and atmospheric breakdowns that sound quasi-progressive and mellow, at its heart this is slam that simply utilizes its patented move a bit more sparingly.
For the most part, the individual songs on here tend to stand on their own quite well, though the overall album has a decent pacing to it that manages to show through the wide array of jerks and jostles in tempo and feel. Whether its long excursions into futuristic warfare with enough changes to their name to boggle a mathematician such as “Regeneration Of Steel Organs” and “Cyborg Kombat”, or shorter but near equally perplexing soups of elaborate twists and turns in “Gun-Handed Iron Killer” and the Meshuggah-like stomp machine “Technofetishist”, a simple musical style finds itself so loaded up with details that it seems anything but simple. Perhaps the lone thing that resembles a conventional brutal characteristic is the gurgle work of guest vocalist and former Katalepsy front man Mirius, which is largely deep and burp-like, though it does vary itself a bit rhythmically and will often imitate the pulsing character of the guitar and drum work when the whole arrangement finds itself working in unison.
When Cannibal Corpse first committed Eaten Back To Life to the medium of recorded music in the early 1990s, as well as Nocturnus’ equally trailblazing Sci-Fi flavored contribution at around the same time, there was a sense of looking forward that is almost equally present here. Granted, these crazy Russians have the benefit of a wealthy history to build their sound off of, to which the aforementioned early 90s American acts did not have access, but there is definitely something to be said for a band that decides to mess with the formula a bit rather than simply sticking to what has been working for the past several years, which has been something of a trend among a number of brutal acts lately. 0.00 Apocalypse is one of those rare albums that will have a fair amount of crossover appeal within the various ranks of more extreme death metal. It’s an album that is intelligent enough to build a massive futuristic bridge to tomorrow, and crazy enough to blow the thing up just to see where all the pieces fall.