print interview

Gothic Net Webzine 1999.

1. Does the new album differ for you, in composition or in intent, from Ordo Equillibrio's previous albums? In what ways does it differ?

I consistently embark to realize my aspirations; that is invariably my intent of every working that I accomplish.

My intent for 'Conquest, Love & Self Perseverance' had not considerably transfigured since the accomplishment of 'Reaping the fallen, The first harvest' & 'The Triumph of Light.... and Thy Thirteen Shadows of Love', but the domestic and emotional setting was however slightly different in comparison.

What has varied in between the four accomplishments I have heretofore spawned is the comprehension of realizing my intrinsic aspirations for every individual working.

'Reaping the fallen, The first harvest' was engendered during a condition of quest, whilst still in pragmatic confusion seeking to realize what we desired to factually utilize. Conceivably clarifying the reason why people customarily perceive it as more experimental.

'The Triumph of Light.... and Thy Thirteen Shadows of Love' was spawned as a consequence of more appropriately realizing my incentive and administering to direct my aspirations; and therewith unveiling my path of progression.

'Conquest, Love & Self Perseverance' is accordingly a natural continuation of its predecessors, an intrinsic convergence of past and present incentive, and the aesthetic consequence of more efficiently realizing & actualizing my inherent aspirations.

2. My personal experience of the new album was, among other things, that this music is incredibly erotic. Certainly there are the explicit erotic images in some of the songs - but beyond that, when I listen to your music I experience a deeply-felt sense of what might be called decadence, of appreciation for the pleasures of the world. I find the music itself very sensual.
Do you intentionally seek that esthetic in your work? Particularly on the new album? Or are you seeking another esthetic or combination of esthetics?

I have successively come to realize that this impression of our music being intensely sexual; profoundly suited for ritual and/or sexual conduct, is a seemingly widespread understanding; so I suppose I am requisite to acknowledge and accept this understanding, and determine that such is indeed the situation.

I suppose I spiritually and conceptually aspire to invoke sensual arousal & provocation by virtue of what I engender, but at length I can merely hope that such is the decisive condition.

There are however additional incentives establishing the aesthetic girdle of Ordo Equilibrio, not solely sexual but likewise contemplative.

3. As a follow-up to the last question: Many of your lyrics are about the sexuality of surrender, of power, of dominance and submission.
Do you practice such things in your private life?

Dominance & sexual submission are not solely subjects for the purpose of being utilized throughout the aesthetic realization of Ordo Equilibrio, but likewise significant incentives that are intrinsically affiliated to the intimate core of my very being.

Sex and love are magnificent.
Sex is beautiful, delightful and necessary; Love is ambiguous; captivating, wonderful and complete; yet aggravating, mournful and restraining.

Sex and love serve as vital incentives of my very being; as creative and invigorating catalysts associated with the aesthetic process of Ordo Equilibrio, and the prosperity of my person.

I enjoy sex, and I find it physically and psychically liberating in any consensual and voluntary form.
Particularly associated with my personal infatuation for Stockings, Corsets & High Heels; but likewise in addition to assorted ventures of sadomasochism, along with Bondage & Domination; as invigorating elements as part of my individual life and sexuality.
Essentially as this is where I find an intrinsic variety of stimulating constituents as part of my sexual gratification.
Erecting an undeniable extent of my individual desire, appreciation and sexual nature.

These attractions and practices are however not a substitute to any supposedly accustomed and ordinary sex, but more willingly a gratifying extension of the conventional sexual practices individually appreciated and exercised.
And accordingly utilized as I find them exciting and personally gratifying; conferring me, along with any eventual relationship in which I am engaged, with an additional magnitude of trust, excitement and respect.

4. What are the spiritual principles that underlie Ordo Equilibrio? Does the band have an overriding philosophy?

It is not an entirely effortless task attempting to particularize the spiritual, aesthetic & philosophical principles that emphasize Ordo Equilibrio; but somewhat inconsistently I believe they may be briefly explicated as specified below.

All life can not be spared at what seems to be any cost; especially as every being, does not intrinsically; solely by virtue of being alive, comprise the same equitable aptitude and unconditional right to subsist.

All human beings throughout this planet comprise an individually distinctive aptitude; and every human being does not intrinsically by virtue of its mere being, comprise the imperative aptitude to become an astronaut solely because they retain the aspiration.
People are intellectually, physically, genetically & competently distinct; any other conviction is intellectually deceiving oneself.

The strong and ingenious have to be permitted to prevail in favor of the weak and frail. This condition is not option or a matter of either elitism or humanitarianism, it is an imperative basis for the world to persist and flourish.

Incompatible and short-termed monetary motives may not be recognized as the dictating incentive of the terrestrial procession and its outcome; there are far greater and more important issues besides negligent and improvident financial gain.

Nature and the environmental settings throughout the world in which we subsist, need to be nourished and protected from senseless defilement.
Nature will affirmatively persist without mankind, but mankind will not endure without nature; but which sadly seems to be a comprehension that transcends the understanding of numerous people throughout this day and age.

Man should experience and realize him/herself; as within the comprehension of our very beings, rest the answer to the riddle of our very existence; alongside the sterling key of individual salvation.

Love conquers all.
We should love ourselves truly, literally, passionately and extensively; for are we indeed capable of loving someone else, unless we are intrinsically capable of loving ourselves?

Sex necessitates recognition and utilization as an unconditionally imparting exercise, unreservedly linked with process of life, creation and procreation; and farther akin to an infinite magnitude of physical and psychical gratification.

And so forth....

5. What was your favorite music while you were growing up? The most influential music in your personal life? The most influential music in determining the esthetic of Ordo Equilibrio?

At an early age I was essentially listening to music from the 50's & the early 60's, but as I grew older this preference instinctively evolved to affiliate electronic & industrial music, as for instance SPK & Kraftwerk.

6. What music influences you currently? What bands or music do you really love to listen to, even if it doesn't influence you directly?

All music you listen to tends prone to provoke the aspiration of your creative operations, voluntarily or involuntarily; but altogether I enjoy listening to various music comprised as part of the very same scene that we are associated to ourselves. Various bands maintained by friends and acquaintances throughout CMI as well as World Serpent, as for instance Der Blutharsh, MZ 412 & Les Joyaux de la Princesse; but likewise as I did formerly, an assorted selection of music from the 50's & 60's; alongside a particular assortment of Country & Western.

7. Ordo Equilibrio is certainly perceived by some as "scary" or "disturbing" music. Do you set out to frighten the listener?
Seduce the listener? A little of both?

I suppose our music could be perceived as scary or even disturbing to particularly sensible and/or unaccustomed individuals; but I however believe that this understanding is more accurately related to the situation that the music itself could be difficult to instantly conceive; rather than the situation that it is factually disturbing. It is perhaps challenging and profound, but I am not personally inclined to concede with the understanding that it is scary and disturbing.
But I suppose it would be interesting to have a psychologist analyzing the music and its aggregated spiritual incentive; and accordingly formulate an authorized analysis with regards to the comprised content and my very being.

By virtue of the music I aspire to challenge and possible arouse the listener, emotionally and intellectually. I do not consciously aspire to frighten them, but seduce them would be nice.
I do however not write lyrics for the purpose of serving the music, and neither do I compose music for the purpose of serving the lyrics.
Each source is individually accomplished, and not converged until the instant that they intrinsically and simultaneously establish the equivalent emotional and intellectual incentive.

8. What has your experience of the "gothic" or "alternative" scene in Scandinavia?
Is there a distinct world of "Gothic" music or culture there? How has Ordo Equilibrio been received by that scene?

Scandinavia, despite is collective size in comparison to the US, is comprised of individually operative nations; and consequently I am not qualified to provide an adequate estimation of the Gothic scene altogether.

There is an alternative scene, and seemingly a Gothic population, but whether or not there is a factual Gothic scene is more difficult to determine.
There is to all appearances no regular or pedigreed Gothic concerts transpiring throughout the region, but more accurately, consolidated occurrences in association with other alternative groupings of society; particularly the synth scene.

The Swedish Gothic establishment however, with particular yet singular exceptions, is a seemingly operative yet continuously obsolete organism, entirely deficit of the aspiration to renew, either musically or fashionably.

Young and untainted neophytes are seemingly uniting with an older more established congregation; but yet they are all entirely unprimed with reference to Ordo Equilibrio, the folk industrial scene and the industrial scene altogether.
What more accurately appears to be the contemporary preference is Marilyn Manson, alongside a recently discovered affinity for Gothic/Metal crossover, in relation to Type O Negative, Cradle of Filth & Moonspell.

There is however, inasmuch as the Gothic scene is apparently unacquainted with Ordo Equilibrio, a small, indeed existing, but seemingly invisible industrial scene in Sweden.

The factually extant yet condensed audience, which hesitantly attends the transpiration of most industrial performances throughout Sweden, is dishearteningly reserved.
They are not likely dressed up as in Germany, and are not especially inclined either to compliment or remark with regards to the performance, whether the occurrence was splendid or dreadful.

These two apparently non-interchangeable scenes, alongside the Black metal scene, seemingly congregate our distinctive audience throughout Sweden.
But at length if you continuously aspire to participate within, or farther attend a genuinely invigorating event related to either Industrial, Ambient, Experimental or Gothic culture; you are seemingly required to organize it yourself.

9. How have you been received outside Scandinavia? Have you encountered much of an Ordo Equilibrio following in the rest of Europe, the British Isles or North America?
I must confess that I only recently discovered your music, not having heard a whole lot about it in the Goth scene in California.
(hopefully an interview in Gothic Net will help just a little bit to change that!)

The response throughout Europe, with the exception of the British Isles, which is an apparently hopeless market gaining access to; is incomparable in contrast to Sweden, and certainly more gratifying and genuinely encouraging.

We have heretofore, and especially affiliated to the engendering of 'Conquest, Love & Self Perseverance', acquired a gratifying magnitude of attention from all over Europe; but clearly the most evident source from whence recognition and appreciation derives is yet Germany.

10. What projects have you worked on outside of Ordo Equilibrio (either side projects or previous bands)? Have you worked in other media besides music/sound?

At present time I have no auxiliary engagements adjacent to Ordo Equilibrio.
I was formerly involved in the death ambience constellation Archon Satani until 1993, but consequently decided to relinquish my participation by reason of various conflicts pertaining to the bands contemporary status and continuing progress.

11. Do you do live performances? If so, how do those live performances differ from recording in the studio?
Any plans to tour Europe or North America in the future?

The possibility of performing in North America has been an aspiration for the past years; but as nothing yet has been possible to realize by virtue of various complicating factors, it yet remains to be resolved.
But as far as we are offered the possibility and associated with an adequate arrangement, it is merely a question of when and where.

We perform live occasionally, and heretofore we have performed on altogether fifteen occasions over the past three years; on six occasions in Sweden, four times in Germany, twice in Poland and once in Belgium, Finland and the Czech Republic.

Naturally it differs, performing live and recording in the studio; it would be extraordinary if it did not.
But performing live we seek to include additional percussive instruments into the musical setting, in comparison to the ambience we engender in the studio.

Performing live we try to present an act that is aesthetically affiliated to the philosophical, spiritual & aesthetic aspirations of Ordo Equilibrio; whether it is akin to contemplated irony, militia or fetishism, and further accompanied by drums, banners and flaming fires.
But as we are still investigating the possibilities and disadvantages with regard to performing live, and still are learning about the necessary constituents to appropriately succeed according to our aspirations - our performance will most certainly evolve as we proceed.

And in conclusion I can merely say - Do not expect anything, and you won't be disappointed.

12. Do you have any particular writers - fiction or nonfiction - who have influenced your life and/or your music deeply?

The latest book I have accomplished back to back is 'Distorture' by American author Rob Hardin, and which I indeed can recommend to anyone searching for something invigorating and eloquently eccentric to read.

Three additional and seemingly worthwhile books I am currently reading but yet have not completed, are 'True Romance' by English author Helen Zahavi, 'Forensligandet i det egentliga Vasterbotten' by Swedish author Nikanor Teratologen, and 'Siege' by American author James Mason. But collateral forms of aesthetic accomplishments, not solely literature, but likewise film & photography; esoterically, sexually & philosophically affiliated, as for instance - films by Andrew Blake, Michael Ninn, Dario Argento, Clive Barker & David Lynch - photography by Richard Kern, and - literature by Friedrich Nietzsche, H.P. Lovecraft & Daniil Charms, is by virtue of which I uncover important elements of my spiritual & aesthetic incentive.
But whether or not these accomplishments have profoundly influenced my life is however more difficult to determine.

13. Do you have any upcoming recording projects planned?
Any hopes for the next Ordo Equilibrio album or the direction your art will take in the near future?

I believe the art, the music and the aggregated aesthetics of Ordo Equilibrio will continue to evolve as the inevitable consequence of consistent individual, spiritual and emotional progression; but that it is however foreordained to endure in relation to the heretofore affiliated expression; as this is who I am and what I intrinsically aspire to do.

Another full-length recording is not practically due for yet another year or two, but there is however the prospective possibility of brief collaborations with various artists, as for instance - MZ 412, Les Joyaux de la Princesse, No Festival of Light and American author Rob Hardin. But as each collaboration is yet waiting to be resolved, there is no additional information regarding these eventually upcoming activities.

An official full-length video release is likely to be available at some point in 1999, likely accomplished in association with video artist Michael Prey a.k.a. Fetish 23.
But as it is currently being developed it seems pointless to estimate the date of its release.

These are presently my contemporary engagements, and aside from this we will just have to wait and see what unexpected happenings the further has in store.