Feigning to be what one is not is something Renaissance man Peter Tägtgren can never be accused of. A living embodiment of music (who has also appeared in three films and written music for one), Tägtgren has been a central and active figure in the extreme metal movement for over a decade. With a list of Abyss Studio production credits (Dimmu Borgir, Immortal, Marduk) linking him to some of the most groundbreaking albums of recent times and rightfully hailed by Alternative Press as "the Rick Rubin of Scandinavian metal," the restless genius of Peter Tägtgren can be equally measured by the vast list of his own musical output. A well-known insomniac workaholic who lives life at a relentless pace, the vice of Tägtgren's work ethic has proven to be virtuous for the underground scene. 2005's Virus boasts a lethal combination of reptilian vocals, powerful percussion, grandiose atmospherics, and symphonic requiems, truly revisiting all previous parts of the HYPOCRISY catalogue. Once Virus infects you with its beautifully brutal and painstakingly produced music, a worldwide pandemic is inevitable.

After closing the door on his band Seditious following their 3- and 5-song Life Of Pain demos, guitarist Tägtgren formed HYPOCRISY in Sweden as a quintet in the early '90s after having briefly lived in Florida in the late '80s -- and occasionally drumming for Malevolent Creation. The inaugural line-up included Masse Broberg on vocals, Mikael Hedlund on bass, Jonas Osterberg on guitar, and Lars Szöke on drums. This first incarnation released Penetralia in 1992 (with its heavy Morbid Angel, Deicide, and Entombed influences), but it was 1993's Obsculum Obscenum when the metal underground took notice of the purity of HYPOCRISY's old-school death metal approach combined with the unbridled fury of the burgeoning black metal genre. 1994's Inferior Devotees five-song EP showcased the Tägtgren / Hedlund / Szöke line-up that most would come to associate with HYPOCRISY, though equally notable was Tägtgren's permanent switch to lead vocals. The Fourth Dimension, 1994's full-length studio album, showcased Tägtgren's vocal range and also introduced keyboards, melodies, and slower tempos into HYPOCRISY's musical cartography.

With 1996's excellently produced Abducted, Tägtgren began to share his lifelong childhood fascination that would become his modus operandi: themes & lyrics about extraterrestrials. Introducing "Roswell 47" (a song destined for set list immortality) and securing an infinite amount of future writing material, HYPOCRISY continued to prioritize moods over strict adherence to any one musical genre, and therefore pursued a legacy of sonic alchemy that could be death, black, thrash, and even gothic at any given moment. The dirtier sound of 1997's The Final Chapter reached a wider audience with its fluid elements; however, rumors circulated that the album title was broadcasting the band's dissolution. Clearly, the strains of writing and producing HYPOCRISY's music and lacking the time to further develop his own electronic/industrial side-project with clean vocals (Pain) led Tägtgren to choose between HYPOCRISY's career and Abyss Studios' continued existence. Swayed by worldwide fan pleas and weary from the unrelenting requests to produce records for other bands, his decision was made easier by a contagious desire to experience a Swedish summer outside the confines of a studio control room, to tour more (and perform half-naked!), and use Abyss Studios solely to record his own bands, as well as a few select bands.

1999's self-titled album hijacked HYPOCRISY's retirement and a renewed vigor marked the band's reformation, elegantly captured in the song "Fractured Millenium." The tracks on 2000's death-drenched Into The Abyss were captured in a few weeks, and were an exercise in spontaneity that resulted in a display of energy so raw, it proved that a band's death metal origins could propel music into exciting new landscapes. In 2001, HYPOCRISY fans around the world were invited to choose the track listing for the Years Of Chaos & Confusion box set, with all chosen songs released prior to 1996's Abducted re-recorded to drench them in a heavier production. Always determined to evolve their style, HYPOCRISY never seemed content with the stagnant lethargy of a redundant sound. Answering to no one but themselves and borrowing a title from Joseph Heller's classic tale of contradiction, Catch 22 was released in 2002 and reared a savagely experimental and evolutionary attitude. Touring North America that year with Killswitch Engage, Soilwork, and Scar Culture, fans were treated to addictive doses of HYPOCRISY's live, vile aggression. Honoring the pledge to tour more, HYPOCRISY was noticeably affected by their pillaging of North America in late 2003 with Dimmu Borgir, Nevermore, and Children Of Bodom and numerous sold-out shows. It came as no surprise that 2004's The Arrival had a predisposition of urgency, though it also came to be long-time drummer Lars Sköze's swansong. Former Immortal/Grimfist drumming machine Reidar "Horgh" Horghagen -- a man Tägtgren had long admired -- replaced childhood friend Szöke (who also played in Tägtgren's school band, Conquest) not only for the band's upcoming tour with Cannibal Corpse, Exhumed, and Vile, but as a permanent member. Procuring passport stamps from various countries in Europe and South America, HYPOCRISY returned to North America in the spring of 2005 with Soilwork, Dark Tranquillity, and Mnemic to harvest some frenetic momentum before heading into the studio to record their latest album.

It's the inherent dignity in Virus that affirms why HYPOCRISY continues to impact today's extreme metal scene even after more than a decade of existence. The aural spectrum enveloping the tormented opening scream on "War Path," the punishing guitar riffs on "Craving For Another Killing," the time-honored gallop in "Scrutinized" (featuring a guitar solo by Gary Holt of Exodus), the melancholy melody of "Incised Before I've Ceased," and the collective manifestation of the band's Thanatos in "Blooddrenched" is where HYPOCRISY exhibits their dauntless and valiant death instinct. "The new HYPOCRISY songs roar with dynamism that the band never before grasped," proclaims Metal Maniacs, and no truer truth could be spoken. With the bassassinations of Mikael Hedlund, the percussive endeavors of Horgh, and the addition of newly permanent / long-time live guitarist Andreas Holma (a death metal musician with a jazz background who moonlights as a fretless bass player), HYPOCRISY continues to be led by the man who considers freedom to explore and create the most contagious virus known to humankind. Making music is no job - it's an adventure, and Peter Tägtgren, the Godfather of Gothenburg, is on a worldwide mission to infect the masses at all costs -- sleep be damned

Krisiun has finished their first 10 years in 2000 harvesting the results of great efforts with a lot of difficulties and serious work. With proud to be part of metal underground, the brothers Max and Moyses Kolesne and Alex Camargo enter the new millenium with the certainty that is writing one history of respect and profissionalism like one of the brazilian bands with more approbation in the world.
The construction of this status has started in 1990, when the trio used to live in Rio Grande do Sul state. The start in metal came as inheritance from their oldest brother, that already like bands such as Black Sabbath and Dio. By the steady listening to their records the three Krisiun's musicians enjoyed the sound and, of course, the cover drawings. Like all headbanger, their youth was marked buying records ot their favourite groups. To increase the collection, it was necessary to invest a great part of the salary that the guys receive from the first jobs. Alex couldn't wait the pay day to go straight to "Megaforce", one of the first stores specialized in Rio Grande do Sul capital.
From there, he took a great part of the Krisiun's influences. The most important two albuns they were influenced by was Slayer's "Show no Mercy" and Morbid Angel's "Altars Of Madness". Both records have transformed the life of the Krisiun family, showing a new and fascinating face of the old and good metal. The roaring voices and the instruments played with so much energy and velocity instigated one immediate reaction.
It was time to get more closer to their idols. Without money to buy good equipments, the band worked at the beginning with simple instruments. The metal underground raised up at a euphoric period in Brazil and fanzines started to cross the country. Krisiun has entered the scene keeping contact with other brazilian bands and fanzines. The idea was grow up in the underground and show the band's concepts all over the world: play the real metal. Soon, the style of Krisiun was melded, with the velocity and the power of what was named death metal together.
By learning everything themselves, Alex, Max and Moyses did the first demo tape "Evil Age" (1991). The next year, a second tape - "Curse Of The Evil One" (1992) - was recorded. Since then, the requests from the underground didn't stopped. Knowing that São Paulo opened the doors to work professional only, the brothers have decided to move and live far from their family. At this new city, the musicians have to intensify the endeavour to record the self paid mini album "Unmerciful Order" (1993).
Since then, Krisiun quickly gained the status of a cult band as a result of the high velocity of the compositions and for the impressive live performance. In 1995 the first full lenght, "Black Force Domain", was released. Only two years later the album came to a great public and got picked up by the german label Gun Records. The CD received high notes in the specialized press and has taken Krisiun to european stages for the first time.
In may of 1997 the group have done 20 shows in Germany. So Krisiun have setted up a big fan base and a lot of doors were opened to put the trio in a way more visible. The same year in december they came back to Europe and did more 30 shows were with Kreator and Dimmu Borgir. In 1998 Krisiun recorded "Apocalyptic Revelation" at Harrys Johns' Musiclab studios in Germany. The brazilians have toured with Cradle Of Filth, Napalm Death and Borknagar over Europe. Another 30 headliner shows were done with the opening act of Soilwork.
Other facts that helped Krisiun's divulgation were the presence of the band's tributes to Kreator and Sodom. Despite the trio doesn't have so much interest in these kind of work, Alex, Max and Moyses have enjoyed the idea of pay homenage in two of their influences. The classic hit "Total Death" of Kreator's "Endless Pain" was released in a ultra fast version and "Nuclear Winter" was indicated to Krisiun by Sodom's leader Tom Angelripper. Krisiun has crossed the USA with success in a tour with Angel Corpse and Incantation during february 1999. That was the first 30 shows in North America.
And in that tour raised a great opportunity for the brazilians. One of the Milwaukee Metal Fest producers saw them in action. A Krisiun fan, the producer have invited them to play at the festival in july. At the same period, Century Media Records offered a contract that made the release of "Conquerors Of Armageddon" possible. Certainly it is the best Krisiun album until now and it has a powerful and accurate production, done by Erik Rutan (Morbid Angel and Hate Eternal guitarrist) and engineered by Andy Classen (Rotting Christ, Holy Moses). The songs were recorded at Stage One Studios, in Germany, in winter of 1999. On the drums, Max puts a violent heavy punch, while the guitarwork of Moyses is polished at the same time. The vocals of Alex are impressive such as his demarcation on the bass.
At the end of 1999 the members of Krisiun fulfilled one ancient dream when they played with Morbid Angel, one of their biggtest influences. For Alex, Max and Moyses, divide the stage and establish a friendship with the idols compensated the most part of the difficulties that they have faced during all this time of devotion to metal. The year 2000 is the most intense on Krisiun's history. With a lot of dates booked, the band done more than 120 show in line, USA - Europe - USA - Brasil USA, making the most extensive tour of a brazilian band in all times.
In april Krisiun have done 30 shows at the side of Satirycon, Immortal and Angel Corpse in North America. Straight to Europe, they played with Old Man's Child, Gorgoroth and Soul Reaper in 25 more shows in may. The next month, Krisiun came back to the USA to do another 30 dates, this time with Kataklysm and Dismember. Another moment of personal glory for the brazilians was to have Kerry King in one of their shows even. Better: the Slayer guitarrist went to backstage to give his greetings to Krisiun. That wasn't the first contact between the band and Kerry, because Krisiun have played with Slayer in Germany at the With Full Force Festival (an the same edition that Iron Maiden was one of the attractions) in front of 7 thousand people.
Finnaly back io Brasil, Krisiun did a great tour in their country playing in the south, southwest, north-east and mid-west regions.In november, the group started the composition of the new effort, "Ageless Venomous", that was recorded in Brasil and produced by the band and Tchello Martins. Released in august, 2001, the album has received very good comments worldwide. The tour has taken Krisiun back to Milwaukee Metal Fest besides 16 gigs with Immolation on USA and also great performances in Fuck The Commerce Festival and Wacken Open Air, both in Germany. During october, the band has done his three first shows in Japan and was the opening act on the south american tour of Nevermore. At the same month, Krisiun finnaly done his first gig in other latin country, playing live in Chile. After a break of only seven days, Krisiun went to Europe again to headline a tour on Poland and, after, to play 19 dates with Kreator and Cannibal Corpse in all Europe. To end 2001, Krisiun is one of the members of X-Mass Fest 2001, together with Marduk, Kreator, Nile, Cannibal Corpse, Vomitory and Dark Funeral.
To close the year, more 12 gigs were done with Kreator, Cannibal Corpse, Marduk, Nile, Vomitory and Dark Funeral na X-Mass Fest 2001 in Europe. Other good result was "Ageless Venomous" as the only metal album included on "Best of 2001" from Rolling Stone magazine.

Mankind's sense for creativity probably manifests best in the sheer unlimited ways of torturing, mutilating, and killing each other. Successfully applying this atrocious inventiveness to their perversely precise sonic executions, "European death metal butchers" ABORTED with members hailing from Belgium, France & UK have refined and re-defined the tools of their trade on their seventh full-length "Global Flatline" to murder the listener with unimaginably gruesome, shockingly diverse brutality.

After the already much-lauded Century Media debut "Slaughter & Apparatus: A Methodical Overture" their newest effort turns out to be ABORTED's most meticulous, ferocious and variable to date. Whether they pummel the listener with relentless blastbeats, fester in your veins with infectious grooves, cut arteries utilizing sadistically shredding leads and gurgle, snarl with inhuman violence, these guys make sure they leave no witnesses to their evil deeds.
"Global Flatline" impresses with a more raw and extreme, effective songwriting emphasizing dynamics and darker, refreshingly modern elements that broaden the extremely lethal death metal the band has been known and feared for since its conception in 1995.

Combining the band's undeniable live energy with a powerhouse production from Eric Rachel (The Red Chord, The Black Dahlia Murder, God Forbid etc.) and a "fuck you' rock'n roll" approach to the overly edited, sterile sounding death metal records of today, ABORTED succeed in retaining their vicious roots while evolving in terms of melody, musical virtuosity and vigor. Taking the album's lyrical concept of true crime, serial killer topics quite literally, Colin Marks' frighteningly realistic and brutal artwork for "Strychnine.213" reinforces the notion that ABORTED have doubtlessly developed into extreme metal's most promising new breed.

Having toured with Behemoth, Kataklysm, Cryptopsy or lately Heaven Shall Burn, sharing festival stages with Hatebreed, Napalm Death, Cannibal Corpse, the Belgian quintet is highly respected for its intense live shows. In ABORTED's degenerated worldview murder is fun and you will be delighted to be killed by their new aural toxin…

Arsis, a musical term meaning "silence", was formed in 2001 by guitarist/songwriter James Malone and drummer Michael Van Dyne. Their music is the product of strong classic metal influences such as Racer X, Iron Maiden, Dio, King Diamond, Black Sabbath, and Alice Cooper, as well as the more contemporary influences of bands such as Emperor, Death, and Morbid Angel. The duo recorded two demos that gained them considerable attention in 2002, and began playing live shows in early 2003 with the aid of session musicians.

In the fall of 2003, Arsis signed with Willowtip Records. Their debut album, "A Celebration of Guilt", was released on March 30, 2004 and was immediately showered with rave reviews from metal press worldwide. In the months following, Arsis toured the east coast with a number of diverse metal acts, including Set Ablaze, Misery Index, Invocation of Nehek, Incantation, and Mortician. "A Celebration of Guilt" went on to win Album of the Year honors on Metalreview.com, was featured on numerous Top 10 of 2004 lists, and was given a full overseas release via Earache Records on July 11, 2005.

"A Diamond for Disease" was released on October 25, 2005. Released to critical acclaim, this special mini-cd includes the epic 12-minute title track, and was featured on Decibel Magazine's Top 40 of 2005 list. In 2006, Arsis took part in the hugely successful "Carving North America's Epitaph Tour" (alongside Necrophagist, Cattle Decapitation, Neuraxis, and Alarum), toured the east coast with Becoming the Archetype, and toured the U.S. with Dead to Fall and Misery Signals shortly after. Arsis' much anticipated second full-length release, "United in Regret", will hit stores via Willowtip Records on November 7, 2006. Also look for Arsis on the road this October through November with All Shall Perish and The Faceless, and on tour this December with Napalm Death, A Life Once Lost, Dead to Fall, and Animosity.


$25.00 - $30.00


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