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Production Potential Threat (USA) - EP 2.0

Band: Potential Threat
Title: EP 2.0
Nationality: American
Year: 2005
Production: Self

Born in 1987 in that of San Francisco, Potential Threat one of those bands are raging in the vast American underground scene. Twenty-two year career and three demo assets (the distance between the second and the third is twelve years, then I assume there was also a period of sleep) prior to this EP, EP 2.0 , California band's latest effort-at least until the release of their first full of Old School Metal Records. Coming
ep, you can define in one word: exhausting. A quarter of an hour to thrash shot a thousand, with a strong influence due to the origin of the band. No intro (that's nice when it does), but with immediate start Day of Infamy, which follows my favorite of the cd, Enemy Within, featuring a masterful riff-work. In the final two goals can be found in full what are the two bands that have in some way influenced the way of the Thrash PT: Walk Through Fire and All For Nothing pregnant are the teachings of Metallica and Slayer , no doubt.
A CD suitable for lovers of the Bay Area. The Potential Threat c'avranno also put a lot 'of time to emerge at all (remember that the first full house is coming soon), but I would say that what is most deserved. 2.0 EP is a good job, a good starting point for those wishing to know this band from San Francisco, California.

Tracklist:
1. Day of Infamy
2.
Enemy Within 3. Walk Through Fire
4. All for Nothing

Reviewer: Mosher - thrashuniverse@gmail.com
Rating: 7 / 10
Contact: http://www.myspace.com/potentialthreatsf

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Combat (USA) - Ruination

Band: Combat
Title: Ruination
Nationality: American
Year: 2007
Production: That's Heavy Records

was in 1984 when the Rossbach brothers, Rex and Jeff decided to start a band together. A year later, with the arrival of Bob Eubank, the band was ready Combat were born. For more, perhaps, the first name does not say much. To make you understand better, suffice it to say that the Combat , after not a lot, changed their name to Napalm, and it is with that name that they released the EP Bootcamp (being considered as the pioneers of Thrash made in NY.)
years pass and you get to 2007, when the three find themselves reforming Combat : reunion that leads to the realization of Ruination , written and recorded as a true continuation of Bootcamp.
Unlike many bands who play old school Thrash with a decidedly modern production, the Combat agreed to be bound in all respects to the school of the '80s. And 'why Ruination is a concentration of Thrash / Hardcore direct riffs with sharp, quick and deadly rhythm section, and a production dirty enough.
veritable manifesto of the album is the title track, where more than anywhere else, you can understand what is the spirit of Combat . There are, of course, other excellent tracks, like opener Corrupt Destruct , The Reign is Over (trace a direct child of the '70s punk) and Blades of Death .
We can safely say that if in the copyrights of Ruination there were 1984 or 1985 or even 1986 instead of 2007, no one would have no objection. Though released only two years ago, this album is played as if in those years, by musicians who lived through those years in good shape (just listen to Bootcamp capirecosa'm saying), for whom, in the fabulous 80s, spent the little gold. If you consider yourself Thrashers, listen Combat must become a duty.

Tracklist:
1. Currupt
Destruct 2. Destructure
3. Ruination
4. Fortune of Tortures
5. The Reign is Over
6. Outbred
7. Blades of Death
8. Rat On Wings
9. Temporal Punishment

Reviewer: Mosher - thrashuniverse@gmail.com
Rating: 8.5 / 10
Contact: www.deadfoot.com - www.myspace.com / thatsheavyrecords

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Hatchery (Ger) - Birth of a Bomb

Band: Hatchery
Title: Birth of a Bomb
Year: 2007
Nationality: German
Production: Self

Formed in 2003, the Germans come to Hatchery goal of the first album with this Birth of a Bomb, which follows the two demo Night Time Greys 2004 and Distorted Society 2005. I think it is quite needless to say that the band of Teutonic influences are to be found in those who are the fathers of the German Thrash: Destruction, Kreator Sodom and (although the latter in the slightly smaller). Not to mention that you can also hear a particularly influential stars and stripes (to name groups that are breaking through to today, I would say Bonded By Blood and Gama Bomb Irish )
Thrash Metal Old School, therefore, the proposal of Hatchery : Thrash that dry, tight, rough, but here is brought to a higher stage, thanks to a production that, definitely not from the 80s. And 'this modernization that will allow Hatchery have well-specified in the attached bio that there are absolutely no sounds Nu-Metal: a production that does justice to the birth of the punk / hardcore like that, but with sounds well-defined, absolutely not mixed.
I could not find a piece that can dominate the others: all the nine tracks are worthy of note, well executed. Maybe just a tad bit more than I find the title track where Paul and Nils guitar really give the best, and the Crushing Bones Kreatoriana opener. There
to thank the gods that Thrash has survived to the 90-semicitazione other by their bio-and now we may enjoy the groups as very valid, in fact, these five young Germans. The Hatchery, in the face of all fashion, continue to sound as if you were in the 80s: every self-respecting Thrasher can not but rejoice in that.

Tracklist:
1. Crushing Bones
2. The Brotherhood
3. Above the Law
4. Birth of a Bomb
5. War
6. Wake the Dead
7. Trail of Blood
8. Blood & Guts
9. Weekend Warrior

Reviewer: Mosher - thrashuniverse@gmail.com
Rating: 7.5 / 10
Contact: www.hatchery-band.de - www.myspace.com / hatcherymetal

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The disturbing, Sarah Bernhardt sensual

" The scandalous life and the immense success of Bernhardt charmed everyone. He had spent just the thirty and was about to become a legend and a fetish. [...] Journalists
telegraphed in foreign news concerning it.
Novelists [...] inspired her to their heroines, the painters exhibiting his portraits.
The result, enhanced by a character who could idolize and criticize her every move [...]
His crisis of rage [...] were considered masterful, his regal arrogance, his promiscuity, the divine right of queens. "
(taken from A. GOLD AND R. FIZDALE, Divine Sarah. Life of Sarah Bernhardt, Milan, Mondadori, 1992)


" represents all the primal passions of women, and is extremely fascinating. Such a woman I could love her, love her to distraction, even a pure unbridled passion. [...] When I think of her, I still feel the weight in my chest that has burdened you for days after I saw it. "It was 1908 when the twenty-three David Herbert Lawrence, after saw Sarah Bernhardt play the Lady of the Camellias, wrote these words all testify to its disturbance of young male sexuality in front of the bursting of the Divine. Without taking into account the well-date, 1908, in fact, the claim of the author of Lady Chatterley's Lover could be perceived as a bell'apprezzamento with a bit of exaggeration when he says he was shocked for days Because of that turmoil. Starting, however, precisely the date, one is amazed at the statement of Lawrence, as in 1908, Bernhardt was 64 years (she was born in Paris in 1844). Here, then, that you draw eyes the image of a woman who, despite his age, beyond that, it would mean, of age, was able to wear the garments of the femme fatale of feminine charm, the essence of sensuality.

In addition to the fascinated spectators Bernhardt not only with the strength of its beauty, but also with his personal way of being on stage - as opposed to the fees recitatives of the time, mainly based on the perfect diction - involving the whole body, from voice grew gesture: "[...] his praises, the petitions, the hugs: it's amazing what poses and knows how to take every limb, every joint of his body says with her. "[2] he wrote in 1885 a twenty-nine of Sigmund Freud quarantunenne Sarah Bernhardt.
(taken from an article by Danilo Ruocco, published www.divismo.it/IDivi/Bernhardt/tabid/65/Default.aspx)

Ruocco, in his article, remember that Bernhardt had numerous relationships with men rich and powerful, which facilitated the rise. The interest of clarification, however, is due to the fact that his intense sex life is related with its particular way of acting. " You can now ask why, to explain the difference between the" pose "of French actors and those of Bernhardt, we are reminded that the Divine was also a prostitute. The reason is that it is assumed that the use of the body made from Sarah during the life of a courtesan, influenced the use of the body made by Bernhardt on stage. A curvy body, sensual, it would mean shamelessly in the spotlight, ready, also, to assume poses disturbing. This was the body of Sarah Bernhardt, actress and courtesan. The "put" plastic French tragic actors, the result also of the tradition of interpretation stratificatasi to a part, were not obviously similar to "pose" by Sarah, the result, instead of its own way of approaching the part to play . "From the point of

view of graphology, the sign profuse reigns supreme here, namely the feeling that expands without any measures. Corresponds to the total negation of all forms of rationality, technique, or even simple ability to postpone or to calibrate the action to an end. Moretti writes: " is the sign of the expansion ... it is trendy, unconscious process. The feel is the main function of the expanded mental ... and can be followed or not by thinking " (Act, 120 ). The sign is indicative of the trend towards emotions poured out upon the other ... As this affection is not routinely controlled by reason, logic, it follows that The expansion brings with it greater emotional lability. I'd say the expansion will accommodate all forms of affect and thus can pass on the intensity of the intensity of another. For this provision to have the internal built-in intensity and to recall and reproduce in the imagination by means of introspection. That's why the sign is the sign of profuse short stories, romance . "(Act, 121)

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