Jonathan B. Tucker, Ph.D., is a policy analyst specializing in chemical and biological weapons proliferation and control. He is a 2002–03 senior fellow at the U.S. Institute of Peace in Washington, DC, on leave from the Monterey Institute's Center for Nonproliferation Studies. Before joining the center in 1996, he served for six years in U.S. government positions at the Department of State, the Congressional Office of Technology Assessment, and the Arms Control and Disarmament Agency. In 1995, he was a UN biological weapons inspector in Iraq. He holds a B.S. in biology from Yale and a Ph.D. in political science from the Massachusetts Institute of Technology. In addition to numerous papers and reports, he is the author of Scourge: The Once and Future Threat of Smallpox and the editor of Toxic Terror: Assessing Terrorist Use of Chemical and Biological Weapons.
Because Israel and the United States both face threats from Islamic extremists who are prepared to sacrifice their lives in carrying out attacks, many of the lessons learned by Israeli counterterrorism experts over the past 50 years are relevant to the current U.S. campaign against al-Qaeda. At the same time, the two countries face distinct security challenges. Whereas Israel's psychological and even physical survival is at stake in its war on terrorism, the risks for the United States are substantial but not existential. Moreover, whereas Palestinian terrorists narrowly focus on nationalist-separatist objectives, al-Qaeda is a global network with broader political and ideological ambitions.
Palestinian terrorism against Israel has escalated dramatically since the second intifada ("uprising") began in September 2000; it has included the use of mortars and Qassam II rockets (with a range of 4 to 6 miles) against Jewish settlements and military bases in the Gaza Strip.8 Particularly damaging to the morale of the Israeli population has been a wave of suicide bombings by Palestinian terrorists in crowded buses, markets, restaurants, and nightclubs. These attacks, which occur essentially at random, pose a serious threat to the psychological and economic well-being of Israeli society.
The crude but effective tactic of suicide terrorism was invented by Hizbollah and used for the first time on 23 October 1983, to destroy the U.S. Marine barracks in Beirut with a truck bomb killing 241 American soldiers. Eleven years later, on 6 April 1994, Raed Zakarne, a 25-year-old member of Hamas, blew himself up in a car next to a crowded Israeli bus in the town of Afula, killing eight Israelis (including a female Arab passenger) and wounding 44.9 Since then, Hamas, Palestinian Islamic Jihad, and more recently the al-Aqsa Martyrs Brigades of Tanzim, the Fatah militia, have recruited, indoctrinated, and equipped scores of suicide bombers.
In contrast to the infamous rivalry between the CIA and the FBI, Israeli foreign and domestic intelligence agencies cooperate well in collecting and sharing terrorism-related information. The Israel Security Agency, known as Shin Bet, reports directly to the Prime Minister and is responsible for domestic intelligence, counterespionage, internal security, and the prevention of terrorist acts. The Arab Affairs Division of Shin Bet conducts political subversion and surveillance of Arab terrorists, while the Protection and Security Division safeguards Israeli government buildings and embassies, defense contractors, scientific installations, key industrial plants, and the national airline El Al.18 Israel also has a foreign intelligence agency, Mossad (Hebrew for "institute"), and a military intelligence service, Aman. Shin Bet works closely with Mossad and Aman to prepare an annual terrorism threat assessment for the Prime Minister.
Israeli government agencies gather human intelligence on terrorism by deploying undercover agents in the Palestinian-controlled areas and by recruiting local informants inside or close to terrorist organizations. Several factors may lead Palestinians to collaborate with the Israeli authorities: cash incentives, non-monetary benefits such as a building permit or a cab license, and psychological factors such as a desire for revenge, ideology, or adventure.19 (Still, spying for Israel is extremely risky, and suspected collaborators are often executed or lynched by Palestinian mobs.) Israel also engages in frequent police operations in which large numbers of suspected Palestinian militants are rounded up and interrogated. Only rarely do such operations yield tactical warning of an imminent terrorist attack, however, and apparent tips obtained during interrogation may be disinformation designed to deflect attention from the real target.
In addition to human intelligence, Israel has developed sophisticated technologies for detecting explosives and arms at a distance, electronic eavesdropping and signals intelligence, and visual intelligence with unmanned aerial vehicles. Nevertheless, Israeli intelligence agencies give priority to human intelligence over high-tech methods and contend that the United States has placed too much emphasis on the latter at the expense of the former. Although a satellite image can reveal the location of a terrorist training camp, it cannot provide insights into the thinking of operatives planning an attack.
The main lessons for the United States from the Israeli experience are (1) the fundamental role of intelligence in the fight against terrorism; (2) the need for close coordination and cooperation between foreign and domestic intelligence agencies, particularly in the case of terrorist networks such as al-Qaeda that operate both inside and outside the United States; (3) the importance of human intelligence as a complement to technical collection systems; and (4) the need to improve the timeliness with which raw intelligence data are translated and analyzed.
The United States should emulate the Israeli approach of trying to prevent terrorist attacks by disrupting the broader infrastructure involved in the recruitment, indoctrination, training, and logistical support of terrorist operatives. At the same time, for the reasons described above, it would be unwise to adopt the Israeli policy of assassinating terrorist leaders, except in the context of active combat operations such as the war in Afghanistan. Assassination tactics would almost certainly provoke retaliation in kind, including potential reprisals against senior U.S. political leaders.
Israel's expertise in aviation security is legendary, and this area remains a top priority because the stakes are so high. Large passenger aircraft are attractive targets for terrorists because once in the air, they are extremely vulnerable. A small explosion that might kill only a few people on the ground can bring down a jumbo jet, killing hundreds. Such a disaster would also attract extensive media coverage, magnifying its psychological, political, and economic impact.
El Al, the Israeli national airline, has a security budget of roughly $80 million, covering Ben Gurion International Airport near Tel Aviv and the airliners themselves. Terminal security has been a major concern for Israel since 1985, when Palestinian terrorists attacked the check-in counters at the airports in Rome and Vienna with guns and grenades, killing 18 people. Ben Gurion airport is protected by a defense in depth that begins with a checkpoint on the single access road, where armed guards examine vehicles and question suspicious-looking drivers or passengers. Additional plainclothes security officials monitor the entrances to the terminal, continually scan the crowds inside, and frequently check wastebaskets for explosive devices.
El Al's passenger screening system, established in the early 1970s, relies on psychological profiling techniques backed up with high-technology equipment. This system has been highly effective: the last successful hijacking of an El Al jet was in 1968, when Palestinian terrorists diverted a flight from Rome to Algiers.34 Whereas the United States gives priority to screening baggage rather than people, Israel's security model aims at ferreting out individuals with terrorist intentions. This profiling process relies on access to intelligence and careful observation of would-be passengers.
The main reason for Israel's primary emphasis on human factors is that advances in explosives technology have made it increasingly difficult to find bombs hidden in luggage. Plastic explosives can now be disguised in almost every conceivable form, including shoe soles, toys, cell phones, and clothing. Moreover, the 11 September terrorists did not carry guns or explosive devices but used small, easily concealed weapons (box-cutters) to hijack four airliners and transform them into flying bombs. Although scissors and box-cutters are now banned from carry-on bags, determined terrorists could employ seemingly benign objects, such as the stiletto heel of a woman's shoe or a man's belt, to seize control of an aircraft in flight.
In addition to searching government watch lists, interviewers ask each traveler a detailed set of questions that takes several minutes. Based on this initial screening, the great majority of El Al passengers are classified as low risk and subjected to a routine level of security. About 1%, however, are flagged as high risk because they are on a government watch list or appear nervous at the checkpoint, or because their answers or behavior arouse suspicion. These individuals are diverted into a more intensive screening that takes an average of 57 minutes per person.36 The process involves a lengthy personal interview, a complete search of all carry-on bags, and the use of sophisticated explosives detection equipment. For example, when Richard Reid (the future "shoe bomber") decided to fly in July 2001 from Amsterdam to Israel, allegedly to check out terrorist targets, El Al security personnel selected him for profiling and subjected him to a full security check from head to toe (including an X-ray scan of his shoes) that showed he carried no bomb or weapon. Although Reid was allowed to board the plane, El Al remained suspicious and made sure he was sitting near an armed sky marshal, who was instructed to keep a close watch on him.37 American Airlines was not as careful, however, and allowed Reid to board a flight from Paris to Miami in December 2001. This time the al-Qaeda operative carried an explosive device, concealed in a shoe, and he attempted to detonate the explosive in mid-flight. Only timely intervention by the other passengers and crew prevented a major disaster.
Despite its strengths, the El Al profiling system has potential pitfalls, including human error. Personal rapport between the interviewer and a charming passenger can have a "blinding" effect, so that the interviewer does not detect suspicious signs. In addition, because of co-sharing agreements between El Al and other carriers, some transiting passengers (mainly business people) arrive at Ben Gurion International Airport only one hour before a flight. This brief layover does not provide enough time for profilers to verify passengers' stories without delaying takeoffs. Fortunately, only a few international passengers transit through Ben Gurion airport.
Because of the limitations of profiling and the fact that even the best intelligence database may not include every terrorist, El Al has found that a defense in depth is essential. Second-tier measures include luggage conciliation (matching bags to passengers who board an aircraft) and the processing of baggage and cargo through explosives-detection devices such as InVision scanners and chemical sniffers. Screened luggage that appears suspicious is diverted to an on-site laboratory at Ben Gurion airport for detailed chemical sampling and analysis. In addition, a compression chamber is used to check bags for bombs that have air-pressure fuzes. As a third line of defense, El Al employs on-aircraft protective measures, including at least one armed sky marshal per flight, reinforced and bulletproof cockpit doors, and explosion-resistant cargo holds.
In at least some areas, the United States would do well to emulate the Israeli model of aviation security. One example is to improve airport terminal security by means of concentric rings of professionally trained security guards (both uniformed and plain-clothed) who can respond promptly to a terrorist attack. The shootings at the El Al ticket counter in Los Angeles International Airport on 4 July 2002, in which two people and the attacker were killed, illustrate the need for improved terminal security before passengers enter the screening checkpoints.
Should the United States adopt the Israeli approach and place primary emphasis on profiling passengers rather than on screening luggage? Given the finite resources available for aviation security, it makes sense to identify the small number of passengers who pose the greatest potential threat. The Federal Aviation Administration has developed computerized profiling software called the Computer-Assisted Passenger Prescreening System (CAPPS), which serves as the basis for "random" searches of passengers in the gate area, but this system is much more limited than the one used in Israel, and the criteria used to identify suspicious passengers have been criticized as overly simplistic. Reportedly, CAPPS gives each traveler a risk profile based on factors such as the purchase of a one-way ticket, paying in cash, traveling alone, and buying tickets for passengers with different last names on the same credit card.43 Although CAPPS has recently been upgraded, it still lacks input from federal databases and does not draw on information from personal interviews.
The applicability to the United States of the Israeli approach to passenger profiling is constrained by several factors: the much larger volume of U.S. commercial air traffic, the multi-ethnic nature of American society, the large number of passengers transiting through "hub" cities who catch connecting flights with short layovers, and the fact that personal interviews would be too time-consuming for most Americans to tolerate. In the aftermath of 11 September, U.S. travelers are prepared to accept somewhat longer delays during the passenger screening process in return for greater security and peace of mind. Even so, the hassles associated with heightened security have caused many frequent business travelers to drive rather than fly, costing the airlines major losses in revenue. Moreover, passenger profiling based on racial or ethnic criteria would be legally and culturally unacceptable in the United States.
One possible solution to these problems would be a modified profiling system, implemented by the airlines with oversight by the Transportation Security Administration. This system would be based on the principle of reverse profiling. When someone purchased a ticket, the airline would ask the Transportation Security Administration to run the passenger's name through a computerized, government-wide terrorism watch list containing data collected by the FBI, CIA, and other agencies. (Such an integrated database does not yet exist.) Persons assessed to be low risk would then be directed to a less rigorous screening process, enabling the screeners to focus on the small minority of travelers about whom the initial security check has raised suspicions or revealed a lack of information. These individuals, selected not because of their racial or ethnic background but because of a possible association with terrorist organizations, would be directed to a more rigorous screening process and questioned closely. If their answers or behavior aroused additional concerns, their carry-on bags and checked luggage would be carefully searched.44 A complementary approach would be for frequent business flyers to undergo a voluntary background check and obtain a "trusted traveler" card, including biometric identifiers, that enables them to bypass the more rigorous screening. Alternatively, the names and identifiers of trusted travelers could be stored in the airlines' computer data banks.
During the 1991 Persian Gulf War, when Iraqi President Saddam Hussein threatened Israel with a chemical attack, the IDF developed the doctrine of "a sealed body in a sealed room." Each household was instructed to prepare a special shelter against chemical or biological attack: an interior room that has few if any windows and can be sealed with plastic sheeting and tape to render it airtight. In response to air-raid sirens, warnings broadcast on radio and TV, or the sound of a nearby explosion, Israeli citizens were told to enter the special room, seal the door with tape or cloth, don their gas masks (creating the "sealed body"), and keep them on until the "all clear" is given.
Surrounded by hostile countries armed with chemical and biological weapons, Israel faces a much more immediate threat than does the United States. Israel is also a small country, making it economically feasible to issue and maintain gas masks and antidote kits for the entire civilian population free of charge. Nevertheless, the United States should do far more to improve its domestic preparedness for chemical and biological terrorism and to educate the public about these potential threats. Although distributing a gas mask and an antidote kit to every American would not be practical, centralized stocks of masks and antidotes should be available for rapid distribution and use in the event of a chemical attack.
Bioterrorism preparedness requires a different set of measures. Because the release of a biological agent such as anthrax would take a few days to produce symptoms in those exposed, the victims of a bioterrorist attack would disperse widely and the first responders would be emergency room doctors and clinicians in private practice. These individuals require training in the diagnosis of exotic infections such as anthrax and smallpox, which they would never encounter in their routine medical practice. They also need to know how to report unusual disease outbreaks to the public health authorities, so that the appropriate treatment and containment measures can be brought to bear rapidly. Finally, it would be desirable to reduce the vulnerability to chemical or biological attack of certain high-risk buildings (such as federal government offices) by making air-intake vents less accessible and by installing high-efficiency particulate air filters and activated-charcoal filters in the ventilation systems to screen out toxic agents.
The U.S. government should develop a more effective strategy for communicating terrorist threats to the public in order to promote vigilance without arousing undue alarm and anxiety. Recent warnings issued by U.S. government officials have been poorly coordinated and overly vague and have often appeared motivated more by bureaucratic interests than by real security needs. For example, the color-coded threat-level system developed by the Office of Homeland Security has become a target of ridicule.
Ideally, a single government representative who appears trustworthy, knowledgeable, and disinterested should be charged with conveying threat information to the general public. (In the case of a bioterrorist attack, the Surgeon General would be the most appropriate spokesperson.) Terrorist threats should be publicized only when they appear imminent and the supporting intelligence is reliable and specific. Such warnings should also be accompanied by recommendations to the public for prudent action. In all cases, information about terrorist threats, particularly those involving unconventional weapons, should be conveyed in a clear but non-alarmist manner to offset the sensationalistic tendencies of the mass media. Finally, programs—similar to that organized by the International Policy Institute for Counter-Terrorism in Israel—in which academic terrorism experts travel around the United States giving talks on terrorism to elementary, high school, and college classes and community groups would help ordinary Americans cope psychologically with the pervasive yet amorphous threat they now face.
To date, both Israel and the United States have focused narrowly on military actions against terrorism while neglecting its root causes. Although brutal violence against innocent civilians is unacceptable and can never be justified, terrorism is a symptom of deeper political, religious, or social problems that cannot be solved by military means alone. An effective campaign to prevent terrorism must therefore treat the disease as well as the symptoms by addressing the political and social conditions that give rise to extremism and violence. Because Palestinian terrorism is in part a response to the Israeli military occupation of the West Bank and Gaza, steps that make the occupation harsher are unlikely to improve the security situation. Yet even the unilateral Israeli withdrawal from the occupied territories would not appease rejectionist groups such as Hamas or Islamic Jihad, which aim to destroy the Jewish state. A realistic middle ground would be for Israel to reach out to Palestinian moderates while continuing to pursue aggressive police actions against the extremist fringe.
Click on an end note number to return to the article.
1. Much of the research for this article took place during a study tour of Israel for counterterrorism experts on 2–10 February 2002, sponsored by Project Interchange, an institute of the American Jewish Committee.
2. Serge Schmemann, "In the Arabs' Struggle Against Israel, There Are Many Players," New York Times, 30 March 2002.
3. Boaz Ganor, "A New Strategy Against the New Terror," Policy View (Shalem Center, National Policy Institute), No. 10, January 1995.
4. Hanan Sher and Erik Schechter, "Israeli Ingenuity Takes on Global Terror," Jerusalem Report, 17 December 2001, pp. 34–40.
5. Maj. Gen. Uzi Dayan, Chairman of the Israel National Security Council, briefing on "Strategic Planning for Dealing With the Threat of Terror," Tel Aviv, 5 February 2002.
6. Ina Friedman, "Strategies for a Long and Bitter War," Jerusalem Report, 5 November 2001, p. 14.
7. Gen. Meir Dagan, head of the Bureau for Counter-Terrorism, Prime Minister's Office, briefing on "The Status of the State of Israel in the Confrontation Between Israel and the Palestinians," Jerusalem, 6 February 2002.
8. Joshua Sinai, "Aggressive Measures: Assessing the Effectiveness of Israel's Combating-Terrorism Campaign," Armed Forces Journal International, May 2002, p. 80.
9. BBC News Online, "Israel's History of Bomb Blasts," 11 June 2002.
10. Christopher Dickey, "Inside Suicide, Inc.," Newsweek, 15 April 2002, p. 30.
11. Sinai, "Aggressive Measures," p. 84.
12. Matt Rees, "The Terror That Will Not Quit," Time, 1 July 2002, p. 24.
13. Gal Luft, "The Palestinian H-Bomb: Terror's Winning Strategy," Foreign Affairs, Vol. 81, No. 4 (July/August 2002), p. 5.
14. Dan Eggen, "FBI Warns of Suicide Bombs," Washington Post, 21 May 2002.
15. Jennifer Barrett, "How Safe Are America's Skies?" (interview with Raphael Ron), Newsweek Online, accessed 20 February 2002.
16. Briefing by Gen. Meir Dagan.
17. U.S. General Accounting Office, Combating Terrorism: How Five Countries Are Organized to Combat Terrorism, GAO/NSIAD-00-85, April 2000, p. 11.
19. Friedman, "Strategies for a Long and Bitter War," p. 12.
20. Walter Pincus and Dana Priest, "NSA Intercepts on Eve of 9/11 Sent a Warning; Messages Translated After Attacks," Washington Post, 20 June 2002.
21. "Sayerot Mat'kal," Jewish Virtual Library.
22. Simon Reeve, One Day in September: The Story of the 1972 Munich Olympics Massacre (London: Faber and Faber, 2000), pp. 145–152.
23. Ely Karmon, International Policy Institute for Counter-Terrorism, personal communication, 12 July 2002.
24. David Rubin, TIX Group, Herzliyya, Israel, personal communication, 3 May 2002.
25. Boaz Ganor, "Suicide Attacks in Israel," in International Policy Institute for Counter-Terrorism, Countering Suicide Terrorism: An International Conference, 20–23 February 2000 (Herzliyya, Israel: ICT, 2000), pp. 142–143.
26. Boaz Ganor, "Background—The Components of Counter-Terrorism," International Policy Center for Counter-Terrorism.
27. Rees, "The Terror That Will Not Quit," p. 25.
29. Amos Harel and Gideon Alon, "IDF Lawyers Set 'Conditions' for Assassination Policy," Ha'aretz (English edition), 11 February 2002.
30. Moshe Gorali, "Easier to Kill, Harder to Judge," Ha'aretz, 1 February 2002.
31. Rees, "The Terror That Will Not Quit," p. 25.
33. David Rudge, "Assassination Also Carries Risks to the Assassin," Jerusalem Post, 14 February 2001.
34. Rick Lyman, "An Attack Where Security Is Probably the World's Tightest," New York Times, 5 July 2002.
35. John Croft, "Israeli Security Experts: Technology Not the Answer," Aviation Week & Space Technology, 26 November 2001.
36. David Harel, head of the Liaison Branch for the Protection and Security Division of the Israel Security Agency, briefing on "Aviation Security," Ben Gurion International Airport, Tel Aviv, 4 February 2002.
38. David Armstrong, "Flight Risks: Nation's Airlines Adopt Aggressive Measures for Passenger Profiling," Wall Street Journal, 25 October 2001.
39. Briefing by David Harel.
41. Associated Press, "Counterterrorism Experts at Logan," 1 November 2001.
44. Fareed Zakaria, "Freedom vs. Security: The Case for 'Smart Profiling' as a Weapon in the War on Terror," Newsweek, Vol. CXL, No. 2 (8 July 2002), p. 31.
45. "News Chronology: November 2001–January 2002," CBW Conventions Bulletin, No. 55, March 2002, p. 21.
46. Ron Leshem, "HAMAS Lab: Mustard Gas and Rat Poison," Yedi'ot Aharonot (in Hebrew), 22 January 2002, p. 4.
47. "News Chronology, May–July 2002," CBW Conventions Bulletin, No. 57, September 2002, p. 38.
48. David Stone, "Israeli Civilian NBC Doctrine: Preparing for the Coming Chemical Catastrophe," Soldier of Fortune, Vol. 27, No. 2 (February 2002), pp. 41–42.
50. Sarit Rosenblum, "Israel Has Manufactured Smallpox Vaccine," Ma'ariv (in Hebrew), 10 July 2002.
52. Yoram Schweitzer, "The Case of the 'Shoe Bomber': Lessons in Counter-terrorism—This Time at No Cost," International Policy Center for Counter-Terrorism, 4 January 2002.
Thank you for the material shared.
At War on Terrorism: Few Notes on Rationality: Supplementary Materials to 'To Kill Hope? In Search of a Reliable Strategy to Fight Terrorism' http://ssrn.com/abstract=2747130 – more data and cases on the issue.
Knowing the Enemy – can social scientists redefine the war on terror?


text:
Nikolai Prochorowitsch Chrjaschtschikow (; * 1. Februar 1901 in Tytschkowo, Gouvernement Samara, Russisches Kaiserreich; † 24. Juni 1970) war ein sowjetischer Theater- und Film-Schauspieler.

Leben und Leistungen
Chrjaschtschikow wurde in einem Dorf im Gouvernement Samara geboren. Er besuchte zunächst von 1916 bis 1920 ein Lehrerseminar in Buguruslan und diente anschließend für drei Jahre in der Roten Armee. Von 1924 bis 1925 war Chrjaschtschikow beim Amt für Bildung des Gouvernements Ural tätig. 1925 arbeitete er als Statistiker an der Uraler Warenbörse und anschließend bis 1927 als Buchhalter für verschiedene Unternehmen im kasachischen Oral. Dem folgte bis 1929 eine Anstellung bei Zentrosojus, wobei er hier von Juni bis Oktober 1929 für die Erfassung der Kapitalbeschaffung verantwortlich war. Anschließend ließ sich Chrjaschtschikow zum Schauspieler ausbilden und erhielt nach seinem Abschluss 1931 eine dreijährige Anstellung beim Studio Sojuskino. 1934 wechselte er zu Mosfilm und trat hier bis zur Mobilmachung 1942 vor die Kamera. Chrjaschtschikow diente bis 1943, musste sich jedoch von 1944 bis 1945 einer Heilbehandlung unterziehen. Danach trat er bis 1951 und nochmals ab 1953 für das Theaterstudio der Kinodarsteller auf.

Sein Filmdebüt gar Chrjaschtschikow 1927 in Konstantin Wladimirowitsch Eggerts Ледяной дом (Ledjanoi dom) nach Iwan Laschetschnikows Roman. Es folgten vereinzelte Engagements, ehe er ab Mitte der 1930er Jahre regelmäßig im Film zu sehen war. Größer Rollen spielte Chrjaschtschikow in dieser Zeit u. a. im Sozialdrama
Поднятая целина (Podnjataja zelina, 1939) von Juli Raisman und in der sowjetisch-kanadischen Koproduktion Боевой киносборник №3 – Мужество (Bojewoi kinosbornik №3 – Muschestwo, 1941). Erziehung der Gefühle (1947) war sein erstes Projekt nach dem Deutsch-Sowjetischen Krieg.

Chrjaschtschikow spielte bis zum Ende seines Lebens in über 60 Filmen und verkörperte dabei unterschiedliche Charaktere wie Militär- und Marineangehörige, Arbeiter, Ingenieure und Polizisten. Er gab zwar nie eine Hauptrolle, trat aber unter der Leitung namhafter Regisseure wie Alexander Ptuschko, Michail Romm und Sergei Bondartschuk in Erscheinung. Parallel dazu wirkte der dunkelhaarige Mime bis zu seinem Tod am Theater.

Chrjaschtschikow war Träger der Medaille "Zum 800-jährigen Jubiläum Moskaus".

Filmografie (Auswahl)

Weblinks

Einzelnachweise

Theaterschauspieler
Filmschauspieler
Russe
Sowjetbürger
Geboren 1901
Gestorben 1970
Mann

redpajama_set_name: RedPajamaWikipedia


text:
Scholarly Works - Clinical Neurosciences
Brain networks predict metabolism, diagnosis and prognosis at the bedside in disorders of consciousness
Accepted version (PDF, 8Mb)
Chennu, Srivas
Menon, David
Brain: A journal of Neurology
Chennu, S., & Menon, D. (2017). Brain networks predict metabolism, diagnosis and prognosis at the bedside in disorders of consciousness. Brain: A journal of Neurology, 140 (8), 2120-2132. https://doi.org/10.1093/brain/awx163
Recent advances in functional neuroimaging have demonstrated novel potential for informing diagnosis and prognosis in the unresponsive wakeful syndrome and minimally conscious states. However, these technologies come with considerable expense and difficulty, limiting the possibility of wider clinical application in patients. Here, we show that high density electroencephalography, collected from 104 patients measured at rest, can provide valuable information about brain connectivity that correlates with behaviour and functional neuroimaging. Using graph theory, we visualize and quantify spectral connectivity estimated from electroencephalography as a dense brain network. Our findings demonstrate that key quantitative metrics of these networks correlate with the continuum of behavioural recovery in patients, ranging from those diagnosed as unresponsive, through those who have emerged from minimally conscious, to the fully conscious locked-in syndrome. In particular, a network metric indexing the presence of densely interconnected central hubs of connectivity discriminated behavioural consciousness with accuracy comparable to that achieved by expert assessment with positron emission tomography. We also show that this metric correlates strongly with brain metabolism. Further, with classification analysis, we predict the behavioural diagnosis, brain metabolism and 1-year clinical outcome of individual patients. Finally, we demonstrate that assessments of brain networks show robust connectivity in patients diagnosed as unresponsive by clinical consensus, but later rediagnosed as minimally conscious with the Coma Recovery Scale-Revised. Classification analysis of their brain network identified each of these misdiagnosed patients as minimally conscious, corroborating their behavioural diagnoses. If deployed at the bedside in the clinical context, such network measurements could complement systematic behavioural assessment and help reduce the high misdiagnosis rate reported in these patients. These metrics could also identify patients in whom further assessment is warranted using neuroimaging or conventional clinical evaluation. Finally, by providing objective characterization of states of consciousness, repeated assessments of network metrics could help track individual patients longitudinally, and also assess their neural responses to therapeutic and pharmacological interventions.
disorders of consciousness, electroencephalography, positron emission tomography, resting state, brain networks
The authors received funding from the UK Engineering and Physical Sciences Research Council (EP/P033199/1), Evelyn Trust (Cambridge, UK), the UK National Institute for Health Research (NIHR) as part of the Acute Brain Injury and Repair Theme of the Cambridge Biomedical Research Centre, the NIHR Brain Injury Healthcare Technology Cooperative, the NIHR Senior Investigator award, the James S. McDonnell Foundation, the Belgian National Fund for Scientific Research (FNRS), the European Commission, the Human Brain Project (EUH2020-fetflagship-hbp-sga1-ga720270), the Luminous project (EU-H2020-fetopen-ga686764), the French Speaking Community Concerted Research Action, the Belgian American Educational Foundation, the WallonieBruxelles Federation, the European Space Agency, the University and University Hospital of Liege (Belgium).
Funder references
Department of Health (via National Institute for Health Research (NIHR)) (unknown)
James S McDonnell Foundation (via Weill Cornell Medicine) (220020156)
Evelyn Trust (42200)
Department of Health (via National Institute for Health Research (NIHR)) (HTC-2012-10165)
Embargo Lift Date
External DOI: https://doi.org/10.1093/brain/awx163
Attribution-NonCommercial 4.0 International
Licence URL: http://creativecommons.org/licenses/by-nc/4.0/
Except where otherwise noted, this item's licence is described as Attribution-NonCommercial 4.0 International

redpajama_set_name: RedPajamaCommonCrawl


text:
2-Fluoroetanol – organiczny związek chemiczny z grupy alkoholi, fluorowa pochodna etanolu. Stosowany jako środek przeciw gryzoniom (rodentycyd) oraz insektycyd.

Przypisy

Alkohole pierwszorzędowe
Insektycydy
Rodentycydy
Związki fluoroorganiczne


In other news, I am not dead.
It's been an intense week on much of the f-list. elissaann has been dealing with loss, poor sogwife lost her sweet kitty, and serenejournal's sweetie has been in and out (mostly in) of the hospital. Even something like themagdalen and idasusan's return from their English choir tour turned into OMG DRAMA ... delays on the ground in Philly meant that their original 7:19 pm arrival ("Not that I'm counting the minutes" - mr. themags on Thursday night) turned into Two. Thirty. In. The. Freaking. Morning.
Elissa arrived Friday and we went and saw the delightful "Waitress" at the Cerrito Speakeasy, with dinner (there - how highly civilized) and Bake Sale Betty's pie afterwards.
Lucy hid for much of the weekend and drew blood (my knuckles are still swollen) a couple of times when I tried to prevent this. On the other hand, Maggie loooooves Elissa, and enjoyed Lucy's non-presence - she was quite the little frisk.
I showed up slightly late at church this morning (after the first hymn) because I was scooping chocolate truffles and making last-minute outfit change decisions. During the peace, idasusan came up to me and said "I am SO glad you are not dead!" I was a bit puzzled by this, but all became clear at coffee hour when someone else came up and said the same thing - "I saw that in the bulletin". What had happened was that I had put Elissa's mom on the death list, and my name immediately followed hers. The customary phrase "friend of" had been left out. Some people sussed the "thinko" as my name was in regular, not boldface type (also as per local custom). But oooooops.
So, I'm still alive, and I had a delightful weekend hanging out with Elissa, and I send my love to all of you.
Slightly bittersweet moment as I learned that this was the last Sunday in California for katesma, Katespa, and Kate. A was getting her baby fix in (baby-grabbing being one of her superpowers) and B The Peach was snoozing most adorably in her arms. I will miss them outrageously but wish all good things for them in their new home. Kate has already requested that I come visit her for her birthday. I am definitely hoping to visit - Eugene's an eight hour drive under good conditions, and a gorgeous one at that.


Whether you're a thrill seeker or a history buff, the picturesque town of Mukilteo is a must visit.
Situated at the tip of a peninsula west of Everett and north of Seattle, Mukilteo has water and mountain views in every direction and an impressive array of entertaining activities to keep you busy for a weekend.
Strolling the sand and driftwood-covered beaches of Mukilteo's Lighthouse Park, then soaking in a stunning sunset from a fire pit or picnic shelter along the shoreline is a pleasant way to spend a day. The waterfront also provides opportunities for paddle boarding, scuba diving, fishing, or crabbing, and visitors can watch or board the Mukilteo-Clinton Ferry from here. Nearby restaurants can provide food for a picnic, an ice cream snack, a sit-down meal, and there's even a brewpub just outside the park.
For those that would rather hike than stroll, Japanese Gulch, named for the immigrant mill workers who once lived there, has a series of hiking and mountain bike trails that travel into the wooded hills above.
There are other ways to enjoy the outdoors in Mukilteo, like teeing-off at Harbour Pointe Golf Club, an 18-hole course with exquisite views, or taking classes or playing a game at Harbour Pointe Badminton Club. Thrill-seekers might prefer a visit to the brand new High Trek Adventures at Paine field, where they can tackle the ropes obstacle or the treetop zipline.
History buffs will enjoy touring the Victorian-style Mukilteo Lighthouse, which has guided ships for over 100 years and features striking views across the water from its light deck. Many of Mukilteo's first citizens were put to rest in the Pioneer Cemetery, and its location on a bluff overlooking Puget Sound makes it a serenely beautiful place to reflect upon Mukilteo's past.
The four aerospace museums surrounding Mukilteo are sure to entertain aviation enthusiasts of any age. The Future of Flight Aviation Center and Boeing Everett Plant Tour showcases past, present, and future air travel and features a simulator that mimics supersonic flight. The Flying Heritage & Combat Armor Museum houses Paul Allen's private collection of WWII aircraft and tanks, as well as the new interactive exhibit "Why War: The Causes of Conflict." The Historic Flight Foundation displays a restored and flightworthy collection of aircraft produced in the period between Lindbergh's solo crossing of the Atlantic (1927) and the Boeing 707's first test flight (1957). The Museum of Flight Restoration Center and Reserve Collection allows visitors to witness vintage aircraft being restored.
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"Pray without ceasing," (Thessalonians 5:17) points out the importance of consistency in our prayers. Doing the same thing over and over is what develops habits in our family—whether it is brushing our teeth or praying for the nations to know and follow Jesus.
Perhaps you feel outside your comfort zone as you attempt to establish the habit of interceding for the nations in your home. Maybe your parents did not model this while you were growing up and you are not sure how to begin. Be encouraged. There is no set way to pray for the nations. Consider the age of your children. Use your creativity. Try different ideas and re-adjust as necessary. As parents, you will grow along with your children in practicing the habit of interceding for peoples who have no opportunity to hear about Jesus.
Make it doable for your family. Start small by praying for the nations once a week. Think about your family's weekly schedule. Choose a day and time when everyone is home and you are not rushed. Guard this time and keep it consistent. Prayer time for young children should be no longer than 5-8 minutes.
Focus on the seven continents, praying for people in each area to have the opportunity to hear about Jesus. Since Antarctica has very few full-time residents, consider replacing this "land of the penguins" with the Middle East.
Pray for the same continent once a week for a month, incorporating a new activity each time. Then switch to a new continent. After seven months, start over again.
A Bible and a world map are your best tools. If you do not have a world map, download one for free. To help young children find the continent names amidst all the words on your map, consider printing the continent names on small cards or pieces of paper. Attach your labels to the map with tape.
Pictures of the continent you are focusing on are also helpful. You can check out books from the children's section of a library or search for photos online.
Focusing on God and His purposes first will keep your prayer times rooted in hope. Begin by reading a short Bible verse about God's heart for the world. Use the same verse for the whole month. Say it in a whisper. Say it loudly. Say it while marching in place. Say it standing back-to-back. Add motions. Soon your children will know the verse by memory.
Keep your prayer time active. Think of simple ways to incorporate one of the five senses (see, hear, touch, smell, taste) as well as movement. Be creative.
Africa—Locate and touch Africa on your map. Find something to use as a drum, a popular instrument across Africa. Sing a familiar praise song as you play your drums. Pray that the peoples of Africa will have the chance to hear about Jesus.
Asia—Locate and touch Asia on your map. Give each person a small serving of cooked rice to eat (Asia eats 90% of rice in the world). Pray that the peoples of Asia will have the chance to hear about Jesus.
Australia—Locate and touch Australia on your map. Hop around the room like Australia's well-known animal, the kangaroo. Pray that the peoples of Australia will have the chance to hear about Jesus.
Europe—Locate and touch Europe on your map. Pass a medium-sized ball back and forth with your feet to simulate the popular European sport of football. Pray that the peoples of Europe will have the chance to hear about Jesus.
Middle East—Locate and touch the Middle East on your map. Tie towels or pieces of cloth around your heads to simulate the head coverings worn by many Middle Eastern men. Pray that the peoples of the Middle East will have the chance to hear about Jesus.
North America—Locate and touch North America on your map. Find a child friendly rock and roll song on your phone and listen to it together (add dance moves if you want). Pray that the peoples of North America will have the chance to hear about Jesus.
South America—Locate and touch South America on your map. Count to five in Spanish or Portuguese. Pray that the peoples of South America will have the chance to hear about Jesus.
Start small and stay consistent. Author Max Lucado said, "Our prayers may be awkward. Our attempts may be feeble. But since the power of prayer is in the One who hears it and not in the one who says it, our prayers do make a difference." As you lead your family in faithfully praying for the nations, God will hear your words and begin to answer according to His power.
Great ideas and reminders! Thank you!


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Tag Archives: alex bent
Album Review – Trivium / In the Court of the Dragon (2021)
Posted on October 13, 2021 by Gustavo Scuderi
It's time to join Trivium in the court of the dragon to the sound of their magnificent new opus.
Death of gods and world
You will know your worth"
After getting back on track with their two previous albums, those being the excellent The Sin and the Sentence, released in 2017, and What The Dead Men Say, released in the beginning of 2020, Orlando, Florida-based Heavy Metal unity Trivium continues to deliver their trademark fusion of violence, speed and intricacy with their newborn spawn, beautifully titled In the Court of the Dragon, the tenth studio album in their beyond solid career. Produced by Josh Wilbur and mastered by Ted Jensen at Sterling Sound, In the Court of the Dragon sounds and feels even better than its predecessors, proving the isolation during the pandemic was extremely productive for vocalist and guitarist Matt Heafy, guitarist Corey Beaulieu, bassist Paolo Gregoletto, and drummer Alex Bent, who as I always like to say elevated Trivium's sound to a whole new level after joining the band in 2017, and in their new album he sounds even more awesome than usual.
Composed and arranged by Emperor's own Ihsahn, X is an epic, dark and cinematic intro that warms up our senses for the fulminating In the Court of the Dragon, where Matt begins screaming the song's powerful lyrics ("In the court of the dragon / Death of gods and world / In the court of the dragon / You will know your worth") accompanied by the headbanging riffs and beats by Corey and Alex, whereas an imposing start morphs into sheer adrenaline in Like a Sword Over Damocles, with Matt and Corey kicking ass on the guitars while Paolo makes the earth tremble with his bass jabs. Needless to say, Alex adds tons of intricacy and feeling to this already fantastic composition, turning it into my favorite of the entire album. Then we have Feast of Fire, the second single of the album and a solid, traditional Trivium song, albeit not as powerful as the rest of the album. Then it's time for another frantic, high-octane creation by the quartet named A Crisis of Revelation, providing an excellent balance between their heaviest side and their more melodious, clean sounds, and if played live it will surely ignite some fun mosh pits during their live concerts.
In The Shadow of the Abattoir we're treated to a gentle beginning to the deep, clean vocals by Matt, evolving into another complex Melodic Death and Heavy Metal feast spearheaded by Alex and his unstoppable drums and spiced up by their sick guitar solos; and more of their groovy sounds are offered to us all in the neck-breaking No Way Back Just Through, with Matt once again thriving with both his clean singing and enraged roars. A massive wall of sounds will hammer your head mercilessly in Fall Into Your Hands, even heavier and more detailed than its predecessors, where Matt screams nonstop from the bottom of his heart while his bandmates add elements from Progressive, Death and even Symphonic Metal to their core sonority. It looks like the guys form Trivium wanted to offer endless heaviness in their new album, and they more than succeeded in that as From Dawn to Decadence is another bestial Metalcore tune where Matt, Corey and Paolo are in absolute sync from start to finish with their infernal riffage and bass. Lastly, closing the album we face one final round of their trademark wicked lyrics in The Phalanx ("Within the thrill, amidst the kill / One against all, soon blood will spill / We cannot wait to make your pain / We are the burn inside your brain") amidst a hurricane of heavy sounds that lasts for stunning seven minutes.
Trivium are a band that at the same respects their past while always looking towards the future, and In the Court of the Dragon (available for a full listen on YouTube and on Spotify) is the perfect depiction of that, pointing to an even brighter future ahead of those four talented metallers who are becoming one of the most important bands of the current scene worldwide. Hence, don't forget to follow them on Facebook, on Instagram and on YouTube for news, tour dates, and more of their sick music and videos, and if you want to add the majestic In the Court of the Dragon to your personal collection, you can purchase it from their official webstore, or click HERE for several other places where you can buy the physical or digital copy of the album. As the lyrics to the title-track say, "in the court of the dragon you will know your worth", and if you're there to the sound of Trivium's new album, you can rest assured the "dragon" will provide you with exactly what you deserve.
Best moments of the album: In the Court of the Dragon, Like a Sword Over Damocles, A Crisis of Revelation and Fall Into Your Hands.
Worst moments of the album: Feast of Fire.
Released in 2021 Roadrunner Records
1. X 1:26
2. In the Court of the Dragon 5:09
3. Like a Sword Over Damocles 5:30
4. Feast of Fire 4:18
5. A Crisis of Revelation 5:35
6. The Shadow of the Abattoir 7:11
7. No Way Back Just Through 3:53
8. Fall Into Your Hands 7:45
9. From Dawn to Decadence 4:08
10. The Phalanx 7:15
Matt Heafy – lead vocals, guitar
Corey Beaulieu – guitar, backing vocals
Paolo Gregoletto – bass guitar, backing vocals
Alex Bent – drums, percussion
Ihsahn – orchestration and synths on "X"
Posted in 2021 New Releases	| Tagged a crisis of revelation, alex bent, corey beaulieu, death metal, fall into your hands, feast of fire, florida, heavy metal, ihsahn, in the court of the dragon, josh wilbur, like a sword over damocles, matt heafy, melodic death metal, melodic heavy metal, metalcore, orlando, paolo gregoletto, progressive metal, roadrunner records, sterling sound, symphonic metal, ted jensen, the phalanx, the sin and the sentence, trivium, united states, what the dead men say	| 1 Reply
Album Review – Trivium / What The Dead Men Say (2020)
Posted on April 30, 2020 by Gustavo Scuderi
It's time to listen to what these four (un)dead men from Orlando, Florida have to say in their thrilling new opus.
Three years after the release of the excellent The Sin and the Sentence, the unrelenting Matt Heafy on lead vocals and guitar, Corey Beaulieu on guitar and backing vocals, Paolo Gregoletto on bass guitar and backing vocals, and Alex Bent on drums and percussion, collectively known as Orlando, Florida-based Heavy Metal unity Trivium, return with another round of their always cohesive and breathtaking heavy music in What The Dead Men Say, the ninth studio album and another awesome addition to their undisputed career. Recorded at Studio 606 West in Northridge, Los Angeles, California, engineered, mixed and produced by Josh Wilbur, and mastered by Ted Jensen, What The Dead Men Say brings forward a myriad of styles and sounds that will please fans of all phases of the band, from Melodic Death Metal to Progressive Metal, Black Metal, Thrash Metal and Deathcore. "We've found a really great place to exist in this world. We love Melodic Death Metal, we love Death and Black Metal, and we love Hardcore. What the Dead Men Say is everything we do on one record," commented Matt about their newborn spawn.
Furthermore, like The Sin and the Sentence, the lyrical content on What The Dead Men Say was inspired by modern aspects of life, with the album's title being taken from a science fiction novella of the same name written by American writer Philip K. Dick, first published in Worlds of Tomorrow magazine in June 1964. For instance, "Catastrophist" deals with the theme of humanity in a crisis, "Amongst the Shadows & the Stones" is about the horrors of war, "The Defiant" was inspired by R. Kelly's documentary and abuse-enabling, "Bending the Arc to Fear" talks about the surveillance aspect of modern society, and so on, with the closing song "The Ones We Leave Behind" being about "running over" people to succeed in life, delivering a powerful message and portraying a whole new meaning in the wake of the 2019–2020 COVID-19 pandemic. With that said, it was more than obvious that the fusion of a precise and powerful music with meaningful lyrics would result in another future classic by Trivium, leaving us eager for more of their always-evolving and never-repetitive music in the years yet to come.
As soon as you hit play, the cinematic instrumental intro IX (a clear reference to the fact that What The Dead Men Say is their ninth full-length album) sets the stage for Matt & Co. to kick some ass with the title-track What the Dead Men Say, where Alex begins crushing his drums with tons of precision and fury accompanied by the scorching riffs by Matt and Corey. Bringing elements from the Progressive and Groove Metal by bands like Lamb Of God added to their core musicality, this is indeed an excellent way to start their new opus, followed by Catastrophist, one of the previously released singles of the album, keeping the groove and electricity flowing from start to finish. Moreover, its razor-edged riffs remind me of some of their compositions from their 2013 album Vengeance Falls, while Paolo makes the earth tremble with his sick bass jabs.
Then it's time to go absolutely mental to the sound of Amongst the Shadows & the Stones, by far my favorite of all songs, presenting their trademark riffage and solos, intricate beats, tons of breaks and variations and an endless amount of violence in a hybrid of Groove, Heavy and Thrash Metal, with Matt rabidly roaring the song's lyrics ("Bloodied corpses, broken bones reveal / A throng of clashes crushed, our nightmare sealed / Amongst the shadows and the stones"), whereas the semi-ballad Bleed Into Me, despite the solidness of the instrumental pieces (in special Paolo's somber bass lines), doesn't really click and falls flat after a while, but there's nothing to worry about as this is the only low (or maybe I should say less intense) point of the entire album. And back to their usual high-octane mode the quartet fires the also amazing The Defiant, showcasing Iron Maiden-inspired guitars walking hand in hand with the vicious beats by Alex while at the same time presenting a great balance between Matt's clean vocals and harsh screams. As a matter of fact, could this be an "alternate" version or a sequel to their classic "The Deceived" due to the sonic similarity between both songs? That's a question only Matt, Corey, Paolo and Alex can answer, of course.
In the top-of-the-line Sickness Unto You a mellow and melancholic start gradually morphs into a violent metal feast by Trivium, with sheer rage flowing form Matt's vocals while he and Corey demolish our ears with their razor-edged riffs, both supported by the always thunderous bass by Paolo, whereas Scattering the Ashes can be considered a good example of how diverse their new album is by blending the music from Silence In The Snow with In Waves, once again presenting a solid instrumental and spot-on backing vocals overflowing pure anguish. Then we're treated to more of their always cryptic lyrics ("A strain of vigilance / Deep roots that all connect / We wait so diligent / Watching you / Watching you") in Bending the Arc to Fear, starting in a Black and Thrash Metal-ish vibe and sounding perfect for slamming into the pit to the sound of the bestial drums by Alex. On a side note, I personally love the strident and metallic sound of their stringed axes throughout the entire album, enhanced by its crisp and polished overall production. Lastly, closing the album the quartet offers us all the melodic and vibrant The Ones We Left Behind, featuring the rumbling bass by Paolo accompanied by the stunning beats and fills by Alex while Matt and Corey give a lesson in riffs and feeling, concluding the album in a powerful and effective manner.
After listening to What The Dead Men Say in its entirety for a few times, you'll quickly notice how not only the band's technique and professionalism, but also their synchronicity, have been growing stronger and stronger through the years, pointing to an even brighter future for Matt and his bandmates in a near future and, therefore, positioning Trivium as one of the driving forces of modern-day metal music, never sounding tiresome nor predictable at all with each one of their releases. Hence, go check what the boys are up to on Facebook and on Instagram (especially because they're all very active users of most social media platforms), subscribe to their YouTube channel, and above all that, grab your copy of such entertaining album from the Warner Music webstore or click HERE for all locations where you can buy or stream the album (and if you have some extra money go for the Japanese Edition of the album, as it contains two very special acoustic versions for the songs "Bleed Into Me" and "Scattering the Ashes"), raising your horns, banging your head and listening to what the (un)dead men from Trivium have to say through their unparalleled music.
Best moments of the album: Amongst the Shadows & the Stones, The Defiant, Sickness Unto You and The Ones We Left Behind.
Worst moments of the album: Bleed Into Me.
1. IX 1:59
2. What the Dead Men Say 4:45
3. Catastrophist 6:28
4. Amongst the Shadows & the Stones 5:40
5. Bleed Into Me 3:49
6. The Defiant 4:29
7. Sickness Unto You 6:14
8. Scattering the Ashes 3:25
9. Bending the Arc to Fear 4:46
10. The Ones We Left Behind 4:57
Japanese Edition bonus tracks
11. Bleed Into Me (Acoustic version) 3:45
12. Scattering the Ashes (Acoustic version) 3:04
Posted in 2020 New Releases	| Tagged alex bent, amongst the shadows & the stones, black metal, bleed into me, catastrophist, corey beaulieu, death metal, deathcore, florida, groove metal, hardcore, heavy metal, josh wilbur, matt heafy, melodic death metal, metalcore, orlando, paolo gregoletto, philip k. dick, progressive metal, roadrunner records, sickness unto you, silence in the snow, studio 606 west, ted jensen, the deceived, the ones we left behind, the sin and the sentence, thrash metal, trivium, united states, vengeance falls, what the dead men say	| 2 Replies
Album Review – Dragonlord / Dominion (2018)
Exploring themes of darkness owning and influencing these times we now live in, here comes Eric Peterson's fantastic Symphonic Black and Thrash Metal project with their first album in 13 years.
After long and excruciating 13 years, San Francisco, California-based Symphonic Black/Thrash Metal horde Dragonlord, the brainchild of Testament's own Eric Peterson where he's able to showcase his darkened side, is finally back with a brand new opus, titled Dominion. Serving as the long-awaited follow-up to their 2005 release Black Wings of Destiny, but taking the fantasy and storytelling to a whole new level, Dominion explores themes of darkness owning and influencing these times we now live in, and things that have come to pass. In addition to Eric Peterson on vocals, guitar and bass, Dominion features the musical talents of Lyle Livingston (Psypheria) on orchestrated keys and pianos, Alex Bent (Trivium) on drums, and notable fantasy metal singer Leah McHenry (Leah) on female vocals and choirs, who has performed and recorded with members of renowned acts like Blind Guardian, Nightwish and Delain, among others.
Featuring a stunning artwork painted by Berlin-based Israeli artist and designer Eliran Kantor (Testament, Iced Earth, Sodom), Dominion is a dark fantasy fan's musical dream, exploring everything from Nordic history to Lord of the Rings, with its eight songs creating a deep and heady musical journey rife with meaning and menace, from the blackest and loudest recesses of Eric Peterson's mind. If you're a fan of the superb work done by Mr. Peterson with Thrash Metal titans Testament, you might be surprised by how visceral, epic and imposing his guitar sounds with Dragonlord, not to mention his devilish gnarls, turning Dominion into a must-have for fans not only of the Symphonic Black Metal genre, but also for anyone else who admires high-quality and vibrant extreme music.
The always mesmerizing sounds of thunder and rain open the gates of the underworld in the intro titled Entrance, before Eric comes ripping with his ass-kicking guitar, all embraced by an epic atmosphere and suddenly exploding into the fantastic title-track Dominion, presenting insane keys and an imposing background choir, while Alex proves why he's one of the most talented drummers of the current metal scene and Eric sounds bestial with his enraged roars. Put differently, this full-bodied and very detailed lesson in Symphonic Black Metal is what Dimmu Borgir should be doing, and their sonic onslaught of piercing and Stygian metal music goes on in Ominous Premonition, getting faster, more demonic and absolutely amazing, with the keys by Lyle being a thing of beauty while Eric not only growls like a demon, but his riffs and solos are also majestic as usual.
In Lamia it's quite impressive how Eric's riffs and Lyle's keys and orchestrations blend so perfectly, with guest vocalist Leha providing a touch of delicacy and passion amidst all devastation blasted by the rest of the band; whereas epicness and lust beautifully flow from all instruments in the stunning Love of the Damned, a Symphonic Black Metal ballad where Eric's vocals get more introspective and deep (and I would simply love to see them performing this song live). Then it's time for a journey to the mighty North in Northlanders, with the bitterly cold riffs by Eric and the gripping keys by Lyle being enhanced by Alex's precise and potent beats, while the ambience remains as epic as possible in a flawless hybrid between Black Metal and Symphonic Metal.
Dragonlord Dominion Ultimate Dragonlair Merch Bundle
Then featuring Tilen Hudrap (Vicious Rumors, Wartune, Thraw) on bass, The Discord of Melkor is perhaps the most Black Metal of all tracks, a dark symphony of classic and vibrant metal music that sounds very dense thanks to the brutality blasted by Alex on drums, whereas Serpents of Fire, the last song in Dominion, is just as fantastic as the rest of this very detailed and thrilling album, with Eric growling and gnarling demonically while Alex and Lyle generate a massive wall of symphonic and violent sounds, resulting in over eight minutes of a captivating and bold sonority for our total delectation, not to mention how its climatic ending gets closer to the Thrash Metal by Testament, therefore adding an extra pinch of adrenaline to the overall result.
If you think that my words are not enough to describe the music in Dominion, I highly recommend you go watch "The Making of Dominion" video series on YouTube (split into parts one, two and three), and in order to get more details about Dragonlord simply go visit their official Facebook page. In addition, from all album versions and bundles available in the market, apart from the digital options you should definitely take a look at the physical combos available from the Spinefarm Records' webstore, especially the beyond superb "Ultimate Dragonlair" merch bundle, featuring the LP gatefold version with a large-size 20-page lyric booklet, the CD digipack, a copy of the unparalleled "The Burner" comic book, and a stylish T-shirt. But be aware that, once you enter the dangerous dominion of Symphonic Black and Thrash Metal ruled by Eric Peterson and his Dragonlord, there's no turning back.
Best moments of the album: Dominion, Love of the Damned, Northlanders and The Discord of Melkor.
Released in 2018 Spinefarm Records
1. Entrance 2:34
2. Dominion 5:36
3. Ominous Premonition 4:40
4. Lamia 4:15
5. Love of the Damned 5:21
6. Northlanders 6:45
7. The Discord of Melkor (feat. Tilen Hudrap) 7:09
8. Serpents of Fire 8:09
Eric Peterson – vocals, guitars, bass
Lyle Livingston – keyboards, piano, orchestrations
Leah McHenry – female vocals, choirs
Tilen Hudrap – bass "on Discord of Melkor"
Posted in 2018 New Releases	| Tagged alex bent, black metal, california, dominion, dragonlord, eliran kantor, eric peterson, leah, leah mchenry, love of the damned, lyle livingston, northlanders, san francisco, spinefarm records, symphonic black metal, symphonic black thrash metal, symphonic metal, symphonic thrash metal, the discord of melkor, thrash metal, tilen hudrap, ultimate dragonlair, united states	| 1 Reply
Concert Review – Trivium & Arch Enemy (The Danforth Music Hall, Toronto, ON, 11/07/2017)
Over 1,500 metalheads headed over to Toronto's Greektown for a flammable night of modern and vibrant contemporary metal music, courtesy of the iconic Arch Enemy and the unstoppable Trivium.
OPENING ACTS: Fit For An Autopsy and While She Sleeps
Although it's getting colder and colder as the month of November begins to switch from the colors of fall to the monochromatic look of winter, I guess no one can complain about the clear and not-so-chilly weather yesterday in Toronto, turning the night into the perfect occasion to head to The Danforth Music Hall, located at the easternmost side of what's known as "Greektown", to watch the fulminant performances by two of the most important bands in contemporary metal music, Swedish Melodic Death Metal masters Arch Enemy and American Heavy Metal troopers Trivium, both promoting their brand new kick-ass albums. Not only that, weeks before the concert all tickets were already sold out, which means we were going to experience around 1,500 metalmaniacs screaming, jumping up and down and slamming into the pit together with the bands. It can't get any better than this, my friends.
The two bands chosen to warm up the crowd in a night of modern and aggressive heavy music were American Deathcore act Fit For An Autopsy and British Metalcore group While She Sleeps, with FIT FOR AN AUTOPSY being the first to hit the stage at 6:30pm. Formed in 2008 in Jersey City, in the state of New Jersey, United States, the band is supporting Arch Enemy and Trivium during their fall tour by promoting their latest album, titled The Great Collapse, released earlier this year. If Deathcore is your cup of tea, go check The Great Collapse in full on YouTube as their setlist was 2/3 formed of songs from that album, and also watch their official video for Black Mammoth, the closing song of their performance.
Heads Will Hang
Absolute Hope Absolute Hell
Still We Destroy
Iron Moon
Black Mammoth
Joe Badolato – vocals
Will Putney – guitar
Patrick Sheridan – guitar
Tim Howley – guitar
Peter Spinazola – bass
Josean Orta – drums
After that good start it was time for WHILE SHE SLEEPS to blast their Metalcore precisely at 7:15pm to all metalheads that were already at the venue (and the ones arriving a little late). Formed in 2006, this Sheffield-based squad is currently promoting their new album You Are We, with their setlist also being almost 100% based on it. New songs like the opening tune You Are We, Silence Speaks, and the closing one Hurricane kept the audience warm enough for the main attractions of the night, with lead singer Lawrence Taylor and bassist Aaran Mckenzie being absolutely on fire from start to finish.
You Are We
Civil Isolation
Silence Speaks
Lawrence Taylor – vocals
Sean Long – guitar
Mat Welsh – guitar, vocals
Aaran Mckenzie – bass
Adam Savage -drums
Finally, after over three long years (the last time the band was in town was in 2014 together with Kreator), Toronto had the pleasure of witnessing another bestial performance by ARCH ENEMY, precisely at 8:05pm (the punctuality of the concerts in Toronto always amazes me), and let me tell you that this time the whole band was even sharper and heavier than last time. Well, let's say that is most probably due to the fact that in their new album, the excellent Will to Power, Arch Enemy put the pedal to the metal, sounding less melodic and more ruthless, and when their new songs were transferred to the stage the result couldn't be different than some insane mosh pits, lots of growling and fists and horns in the air.
Frontwoman Alissa White-Gluz (with her always exotic and apocalyptic attire) seemed extremely happy and excited (as expected) to be with Arch Enemy once again in her homeland Canada, saying that it might be difficult for the band to cross the ocean to play in North America, but when they're able to finally come to Canada and the US, it's definitely worth it. She said that although she's originally from Montreal, Quebec, she nurtures a deep passion and respect for Toronto, and the fans responded to that statement with a lot of enthusiasm, banging their heads nonstop to each and every song played by Arch Enemy. As mentioned, the new songs worked extremely well, in special the high-octane Slayer-ish tornado titled The Race, which by the way Alissa said is her favorite of the new album (and mine too), and the classy and groovy Blood in the Water.
Sharlee D'Angelo and Daniel Erlandsson were as precise and competent as usual with their bass and drums, respectively, but I must say it's impressive how crystal clear, blazing and tuneful the guitars by Michael Amott and Jeff Loomis sounded during their entire performance. Those guys are true BEASTS with their cutting riffs and solos, sounding so perfect to the point you couldn't tell if they were playing live or if it was the studio version of the songs. Whoever adjusts their instruments prior to the shows is a technical genius, no doubt about that, and if you get to see Arch Enemy live anywhere during this tour simply close your eyes and let each note played by Mr. Amott during the classic instrumental piece Snow Bound penetrate deep into your soul. The only "complaint" I have about their concert was the presence of not-so-exciting songs in their setlist, like Stolen Life, You Will Know My Name and Avalanche, which worked well, I have to admit that, but imagine if they played some of their more obscure and scathing classic tunes, like what happened with Ravenous, Dead Bury Their Dead and especially Nemesis? Well, we'll have to wait for their next Canadian tour to see what they'll do to their setlist (and I can't wait for that).
Set Flame to the Night (Intro)
Stolen Life
War Eternal
My Apocalypse
Blood in the Water
You Will Know My Name
The Eagle Flies Alone
As the Pages Burn
Dead Bury Their Dead
We Will Rise
Snow Bound
Enter the Machine (Outro)
Alissa White-Gluz – vocals
Michael Amott – lead guitars, backing vocals
Jeff Loomis – lead guitars, backing vocals
Sharlee D'Angelo – bass
Daniel Erlandsson – drums
After a short break, where the house DJ played some all-time classics on the speakers such as Iron Maiden's "The Prisoner" and Motörhead's "Born to Raise Hell" to keep the momentum created by Arch Enemy going, Orlando-based metallers TRIVIUM took the stage by storm at 9:45pm sharp already with the opening track of their superb new opus, The Sin and the Sentence, the title-track The Sin and the Sentence, which made the crowd explode in awe and ignited some serious mosh pits all over the venue. Matt Heafy, Corey Beaulieu and Paolo Gregoletto were as electrified and in sync as usual, with Matt leading the fans with his "meme-generator" faces and gestures, but it was newcomer Alex Bent who stole the spotlight. Holy shit, that guy is a relentless killing machine on drums, elevating the band's already heavy sonority to a whole new level. Needless to say, he played all songs to perfection, in special one of the best of the new album and a serious candidate to become a Trivium classic, the Black Metal-inspired tune Betrayer.
Surprisingly (at least for me), one of the songs with the strongest reaction from fans was Until the World Goes Cold, which is a pretty nice ballad but, let's be realistic, it's far from being as awesome as classics like Down From the Sky and Kirisute Gomen. Two of the other songs from The Sin and the Sentence, the radio-friendly The Heart From Your Hate and Thrown Into the Fire, also sounded and felt truly heavy and thrilling, proving once again that Trivium are one of the most effective bands in heavy music when composing both heavier and slower, more melodic songs. Just like what happened with Arch Enemy, I missed a few songs in their setlist, especially some of the more complex tunes from Shogun, but Matt & Co. know what they were doing when they put this setlist together, trying to encompass all of the band's phases in a little less than one hour and a half.
Last but not least, when the intro Capsizing the Sea started playing we all knew the show was coming to an end, but not before Matt thanked Toronto for another fantastic night of metal, promising to always return to the city with another blast of Trivium music, and asking everyone present at the venue to get down or kneel before one of their biggest classics, if not the biggest of all, In Waves. If you enjoy Slipknot you've already seen Corey Taylor and his bandmates do the same during their concerts, and with In Waves that Slipknot-ish formula worked extremely well like a precise time bomb, with all fans jumping up and down like maniacs while bursting their lungs screaming the two words from the song's name. I guess there wasn't a single fan that wasn't eager for more Trivium when the show was over, as both Arch Enemy and Trivium had shorter-than-usual time slots to play for co-headlining the tour, but again, we must learn to be patient and wait for Trivium to get back in town in a not-so-distant future, right? At least Matt promised to be back soon, and we must trust the man.
The Sin and the Sentence
Down From the Sky
Until the World Goes Cold
Like Light to the Flies
Dusk Dismantled
The Heart From Your Hate
Kirisute Gomen
Thrown Into the Fire
Capsizing the Sea (Intro)
In Waves
Posted in Toronto, ON	| Tagged aaran mckenzie, alex bent, alissa white-gluz, arch enemy, avalanche, betrayer, black mammoth, blood in the water, canada, capsizing the sea, corey beaulieu, daniel erlandsson, dead bury their dead, deathcore, down from the sky, fit for an autopsy, heavy metal, hurricane, in waves, jeff loomis, kirisute gomen, lawrence taylor, matt heafy, melodic death metal, metalcore, michael amott, nemesis, ontario, paolo gregoletto, ravenous, sharlee d'angelo, silence speaks, snow bound, stolen life, the danforth music hall, the great collapse, the heart from your hate, the race, the sin and the sentence, thrown into the fire, toronto, trivium, until the world goes cold, while she sleeps, will to power, you are we, you will know my name	| 1 Reply
Album Review – Trivium / The Sin and the Sentence (2017)
Fast and intricate riffs, poetic lyrics, a sensational new drummer and, above all, the return of Matt's trademark screams. That's the formula for best metal album of the year.
Finally, after two somewhat controversial albums (the technically excellent but not unanimous Vengeance Falls, from 2013, and the extremely tiresome Silence In The Snow, from 2015), Orlando-based Heavy Metal fighters Trivium are back on track with what's probably going to be the best metal album for most critics and fans worldwide, the sharp, dynamic and vibrant The Sin and the Sentence. This amazing release (the eight studio album in their solid career) features everything you learned to love in the music by Trivium, such as fast and intricate riffs, poetic lyrics and, above all, the return of the band's mastermind Matt Heafy's screaming vocals, by far the most important element that makes The Sin and the Sentence a million light-years better than Silence In The Snow.
Not only Matt's enraged growls are back, but it seems that the band has at long last found the perfect drummer for their music, the talented Alex Bent (Battlecross, Brain Drill, Dragonlord), who replaced drummer Paul Wandtke, and as soon as you hit play you'll be able to clearly see the humongous difference Alex makes to their sound. In addition, another interesting thing in The Sin and the Sentence is that the album wasn't going to be called this way if it wasn't for the cover art and design done by Matt's wife, Ashley Heafy, with whom he's married since January 2010. In a recent interview, Matt stated that the working title for the album was The Revanchist and that the album was going to have gold and neon colors; however, those plans were changed once Ashley presented the band with symbols for each accompanying song, and from there The Sin and the Sentence was born.
The opening track, The Sin and the Sentence, kicks off in full force, with newcomer Alex showing us all the wonders a high-skilled drummer can do to a band. This born-to-be-a-classic tune is extremely addictive and as heavy as hell, with an inspired (and recovered) Matt simply kicking fuckin' ass on vocals; and it seems that no matter how their music sounds, Matt & Co. definitely know how to craft beautiful lyrics ("I saw the dagger eyes staring back at me / I knew I'd never have a chance to bleed / Guilty, but in the sight of fallen men / They bury you before you speak / (The sin and the sentence)"). Then blending Death, Groove, Progressive and even Black Metal in an aggressive but very melodic manner, Beyond Oblivion, a technical tune that lives up to the band's legacy, showcases fun, uprising backing vocals in sync with the rumbling sound of the bass by Paolo Gregoletto, not to mention their once again hypnotizing lyrics ("These shadows sleep so soundly / Appalled, he now averts his eyes / Disgraced, he felt so empty / Entrusting us with our demise"). And Other Worlds feels closer to what they did in the albums In Waves and Silence in the Snow by focusing on the clean vocals by Matt, while Corey Beaulieu and Matt deliver sharp and very harmonious guitar lines and solos, presenting hints of modern Hard Rock in its rhythm.
The second single of the album, The Heart from Your Hate, is another great example of how Trivium can adapt from being a truly heavy machine to a more radio-friendly band, presenting a catchy chorus that goes along really well with the song's main riff; whereas Betrayer can be considered the most visceral and electrifying of all tracks in the album, a full-bodied, intricate composition that brings several elements from the band's first (and more ferocious) albums. Furthermore, do you also think the guitars sound a lot like the classic riffage by Black Metal titans Emperor, one of Matt's favorite bands of all time? Anyway, in The Wretchedness Inside, a song to bang your head like a maniac, Paolo sounds thunderous on bass, with the song's overall rhythm reminding me of the most recent albums by Slipknot mixed with Trivium's In Waves sounding. And, as usual, Matt provides us another blast of top-notch lyrics ("Submerged in dirt but it was never enough / To quell the fire in the back of my lungs / My bones are aching and my head is a mess / They said to run but I'm obsessed with the madness"). As a side note, this song was actually taken from a demo Matt ghostwrote for a different band in 2014; the song was never used though, so Trivium simply re-recorded it for The Sin and the Sentence. The following track, titled Endless Night, feels like some songs from Vengeance Falls, again with a higher focus on Matt's clean vocals, also bringing hints of Hard Rock to their heavy sonority. Moreover, the sound of bass guitar, which by the way is simply fantastic the whole album, ends up boosting the impact of this specific tune considerably.
Sever the Hand is a first-class composition that can be divided in two distinct pieces, the first presenting a more melodic, smoother musicality, while the second brings all Trivium's fury, in special the precise beats by Alex, the demonic riffage by Matt and Corey, and Matt's sick growling. More obscure but still heavy and metallic, Beauty in the Sorrow displays gripping guitars by Matt and Corey (as well as one of the best guitar solos of the whole album), again bringing hints of traditional Black Metal in its riffs; whereas The Revanchist, one of Trivium's most progressive songs of their past few albums and the longest in The Sin and the Sentence, brings forward powerful, metallic bass lines that will punch you in the head while Matt tells the story in a solid and entertaining manner, not to mention how Alex yet again steals the spotlight with his bestial, rhythmic drumming. Lastly, Thrown into the Fire is a song that showcases all elements from most of Trivium's phases, not to mention how superb Matt's screams sound. With the insane beats by Alex dictating the song's rhythm, the final result is furious and harmonious just the way we love it, ending this awesome album in a brutal, vile and piercing way.
After listening to The Sin and the Sentence, do you also agree with me it will most probably be the best metal album of 2017? Let's face it, there are tons of amazing albums launched this year, like the new ones from Kreator, Mastodon and Accept, but the new installment by Trivium is by far the most complete, creative and exciting of all (at least for me). Well, even if you think another album (or maybe albums) is better than The Sin and the Sentence, it's still worth the investment, so go grab your favorite version of it at the Warner Music webstore, and don't miss Matt & Co. when they take your city by storm in the coming months. And, obviously, let's hope the band keeps the momentum going for years to come in the same awesome vein as they just delivered us all with The Sin and the Sentence.
Best moments of the album: The Sin and the Sentence, Betrayer, Sever the Hand and Thrown into the Fire.
1. The Sin and the Sentence 6:23
2. Beyond Oblivion 5:17
3. Other Worlds 4:50
4. The Heart from Your Hate 4:04
5. Betrayer 5:27
6. The Wretchedness Inside 5:32
7. Endless Night 3:38
8. Sever the Hand 5:26
9. Beauty in the Sorrow 4:31
10. The Revanchist 7:17
11. Thrown into the Fire 5:29
Japanese Edition bonus track
12. Pillars of Serpents '17 (re-recorded version) 5:03
Posted in 2017 New Releases	| Tagged alex bent, ashley heafy, betrayer, black metal, corey beaulieu, death metal, florida, groove metal, hard rock, heavy metal, matt heafy, orlando, paolo gregoletto, progressive metal, sever the hand, silence in the snow, the heart from your hate, the sin and the sentence, the wretchedness inside, thrown into the fire, trivium, united states, vengeance falls	| 4 Replies
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