print interview

Metal Shock Magazine 2000.

1. The first is an expected question: why have you changed your name, putting "Rosarius"?

I did not feel any imperative need to change the name Ordo Equilibrio into Ordo Rosarius Equilibrio, but as roses is and always have been intimately affiliated to the aesthetic and lyrical essence of Ordo Equilibrio - roses establishing the aesthetic essence on each side of 'I4I' - Among the roses where I stand, torn and scratched disguised by blood, 'The Perplexity of Hybris, I Glorify Myself' - 'Cleft of Stainless Rose' - We stood alone where roses grew, 'Where Happiness Ruled' and so forth; and as my beloved girlfriend Rose-Marie unexpectedly entered my setting almost two years ago; I merely decided to unite Roses and Equilibrium as to signify the ascent of Equilibrium into Perfection and Balance.

I could have decided not to utilise this particular variation and consequently maintain the name Ordo Equilibrio intact without the incorporation of Rosarius, but as this was something that ensued naturally as a consequence of various incidents, I feel that this alteration does not in any sentient way, change and/or bewilder the orientation and essence of Ordo Equilibrio.

2. The rose is one of your symbols, together with the symbol of goats and doves. Do you want to talk about them?

The symbol of goats and doves originates from Aliester Crowley's deck of tarot - the '4 of Wands'; signifying the flames of energy in play, asserting balance and uniting Completion & Limitation through the seeds of disorder.

The signification of the rose, both lyrically, figuratively as well as physically was however employed as to signify a variation of intent - perfection, life, beauty, purity and love, relative to of its colour, application, setting etc., etc.

3. To which kind of Equilibrio do you refer in the name of the band?

Equilibrium on the illusive boundary of conjectural extremes; abstractions incapable of existing and withstanding without the polarity of the other - Love & Hate, War & Peace, Light & Dark, Woman & Man, Male & Female, Life & Death etc., etc. Equilibrium in attempt to obliterate conceptual opposition and make the two become one.

4. Before Ordo Equilibrio had you had other bands?

My initial musical endeavours commenced in 1989 by way of an industrial percussion project featuring Fredrik Bergström of No Festival of Light, Mikael Stavöstrand of Inanna and two additional friends of ours, Mattias Lindgren a.k.a. Micro Man & Joakim Gustafsson.
This venture completed itself approximately one year later and hence resolved in the rise and ruin of Archon Satani between 1991 - 1993.
Following the ruin of Archon Satani in May of 1993 I pursued my aesthetic endeavours through the founding of Ordo Equilibrio which still remains intact to this very day through the essence of Ordo Rosarius Equilibrio.

5. It can be said that your musical style changed in each album: ritual ambient in "Reaping the fallen…" liturgical / folk in "The Triumph of light…", total folk in the last two albums, also if "Make love…" is darker than the precedent (very dark, indeed) and with industrial pieces (a bit like Albin Julius). Do you like to be various, it has been a musical researching and experimenting, something casual or else?

Variation is not an issue as far as anyone else is concerned. The sole objective is to remain interesting for myself.

Every album is invariably an attestation of my particular frame of mind over a distinct duration of time - the time from genesis to completion.
Neither album is consciously conceptual; not musically, philosophically, lyrically, aesthetically or topically, but it's title however, chosen to reflect its individual and particular essence.
Each appointed concept - love, sex, war and religion is possible to ascertain as part of all works. Making music and writing lyrics solely in relation to one particular essence would prove utterly restraining, predictable and exclusively disadvantageous; a practice far to many already have endeavored and faltered.

Evolution is something that befalls naturally and simultaneously alongside the process of individual realisation, and this is consequently why every individual work is reflective of a particular impression; invariably and intrinsically relative to the essence of my being from the time of its genesis to completion.
But if one carefully contemplates the essence of each work I believe one will reach the comprehension that 'Make Love, And War' is the most perfect accomplishment yet, most thoroughly reflecting the essence of ORE.

6. And, about your last album, do you agree with my precedent affirmation?

I agree and disagree, believing that 'Make Love, And War' is possible to conceive as either darker or lighter depending on which aesthetic element you decide to emphasise.
It is possible to conceive as lyrically more discouraging, sardonic and devious than wither of its predecessors, while at the same time being musically more nuanced, spirited and complex in comparison to any of ORE's foregoing works.
So the decision of whether it's darker or lighter is up to each and everyone to decide for themselves.

7. Which are your musical and cultural interests? And your actual conception of music?

I suppose I find particular parts of our cultural past more inspiring in comparison to others.
I am interested in northern mythology and the cultural past of northern Europe; the symbolism and signification of the runes, and the socio-political history of the north European region in relation to out cultural heritage and the importance it has had in affiliation to our cultural, sociological and political past, present and future.
The 1920's 30's and 40's are inspiring by reason of its incorporated elegance, gala, glamour and cabaret through the essence of Marlene Dietrich, Zarah Leander and Betty Page, alongside the German military aesthetics by Hugo Boss and WWII.
And finally the Roman Empire from several perspectives, as for instance, by reason of its distinctive preferences for entertainment, as who may dispute the entertainment value of the Coliseum and the Circus Maximus?

I appreciate a variation of music - music comprised as part of the very same scene that we are associated to ourselves; various bands maintained by friends and acquaintances, such as bands from CMI as well as World Serpent; but farther from this I enjoy classical music alongside music from the 50's, 60's and 70's, alongside a particular assortment of Country & Western.

8. You started with some pieces of folk music, in the first two albums, to arrive to two complete folk albums (the last two); do you want to talk about?

What's there to say?
I believe this is where to I have endeavoured to succeed all along.
Everything - life, art, sex is an everlasting process towards perfection, and this is the closest I have come yet. But the process continues.

9. It seems to me that the last two CDs are linked together, both in music and in CD graphic, if not in lyrics, while the first two album seems to belong to a separate period and to be each an individual episode; do you agree?

I suppose I have managed to realise my individual aspirations and desires more perfectly through the accomplishment of my last two works, but there is still a long way to wander before I reach the destination I desire.

10. In this new CD, it seems to me, there is an accentuated military character, what do you think about?

I believe martial elements always have been present and possible to distinguish throughout the essence ORE, but in relation to Make Love, And War I believe they are merely more consciously distinguishable.

11. Through the years, people have associated to you right political ideas, because of some of your lyrics and symbols; what do you think about?

I am not politically allied in any direction, neither right nor left, and I do not pursue any quest to be recognised as a political band as I believe such a categorisation hardly would benefit either me or ORE. I do however maintain variation of personal assessments regarding a variety of issues - political as well as social, religious as well as ethical, which I suppose, in the situation that anyone wishes to label me and/or ORE as political, could be recognised as a political agenda.
But this situation makes me neither right wing nor left wing by nature.

12. Tell me something about the musical composition, production, and so on, of the CD....

I personally venture to realize and control the production process to the extent that is possible, earnestly lacking confidence in other individual's competence of realizing my visions.
I envision, apprehend and realize the idea. Author the lyrics. Orchestrate the work. Enter the studio and personally operate the recording process and the completion of the work; however with the occasional assistance of others, such as the overlooking assistance of Jauni Havukainen of In Slaughter Natives, and the assistance of mastering by Peter Andersson of Raison d'être.

The work is thereafter submitted to CMI who accordingly assembles the pieces; congregate the imagery, incarnate the texts and integrate the music into the complete work which becomes ORE.

13. Tell me about your interest for fetish and sexuality… What do they mean for you? What do you think about the actual S/M movement?

I have as far as I can remember always had an intrinsic affinity for the allegedly unconventional; anxiously insinuated to me by various agitated persons throughout my child and adulthood surroundings; whether the affinity was affiliated to my individual operations or the preferences of my very being.

These preferences have thenceforth evolved alongside the intellectual, spiritual, sexual and emotional ascent of my being; withstood, and correspondingly extended throughout my life, and consequently become convoked as customary affiliations converged with other preferences of my very nature and being. As for sexual preferences pertaining to my fetish affinity for stockings and corsets, alongside the appreciation of assorted activities associated to bondage and domination. And which altogether successively have converged to erect the philosophical, spiritual and sexual establishment of my musical preferences, my very being, alongside Ordo Rosarius Equilibrio.

Throughout my hitherto existence I have come to realise that I enjoy sex. I find it physically and psychically liberating in any consensual and voluntary form, and particularly associated with my personal infatuation for Stockings, Corsets & High Heels; but likewise in addition to assorted ventures of sadomasochism, along with Bondage & Domination. 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. This is consequently how I have come to be affiliated to the

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 utilised 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.

I would hardly address Sadomasochism as a movement as I believe a movement operates from an agenda, and which is something the Fetish and Sadomasochistic community does not. Not as far as I know at least.

14. Do you want to talk about your interest for esoterics? Which kind of interpretation do feel nearer to you (I mean Crowley, alchemy, Luciferianism, La Vey, etc.)?

I believe Satanism and Luciferianism as well as any philosophical and spiritual conviction endorsing the utilisation of human potential and the confidence in individual workings; both associated and disassociated with Satanism are vastly more advantageous spiritual applications by which to pragmatically effectuate interaction, realisation and decisive gratification pertaining to life; more appropriately than by virtue of all other philosophical, religious and spiritual convictions.
And I am thus, spiritually and philosophically supportive of specific and explicit conceptions comprised throughout the appointed satanic establishment such as convictions akin to the Ordo Sinistra Vivendi and the Church of Satan, as I believe they more prosperously would realise the individual that I endorse, and decisively contribute with a more natural and certainly more operative comprehension of mankind; alongside a genuine comprehension of the contemporary terrestrial status in which we subsist. And at the hand of which they both successively could be improved.
I have no idea what this assessment and understanding make me, but I doubt it is particularly important.

15. Do you consider your music mystic or esoteric in some way?

I suppose it could be recognised as such.
The creation process is my conduct of lesser magic while performing and being comprehended by the listeners are the workings of greater magic for me and the working of lesser magic for the listener.
There is naturally the canalisation of emotions throughout the entire essence of ORE, whether its graphics, music or lyrics, and there is consequently charged

16. What do you want to express with your music?

Art serves as a canalisation of aesthetics and egoism, and what we seek to accomplish through our music in the sense of being art, is intellectual, spiritual and emotional outlet.
If this indirectly affects, provokes and inspires anyone else and consequently renders gratitude, realisation and incentive, we can merely be grateful.

17. Which is the meaning of art for you?

Art such as magic serves as the deliberate execution and canalisation of procuring contemplated consequence by virtue of will; the projection of energy and will for the purpose of realising individual aspiration; whether the aspiration is benevolent or dire, substantial or negligible.

Art is however the quest of rendering impression rather than consequence onto a conceiver, whether the impression is substantial or negligible.

18. Your compositions are always very well arranged and full of elements… which kind of musical instruments do you use? In which way do you compose?

The spawning of a record successively evolves with an impression; an incentive to create; an idea by which to commence creative process.
I thence commence to create, consistently consumed with impressions relative to the realisation of this particular impression; evolving to become the work I envision. But beyond the revelation that we utilize samplers as part of our operations, I choose to remain silent and leave this to your imagination.

19. Some people think to Ordo Equilibrio as a kind of solo project, with a principal composer, what do you think about?

I suppose ORE could be conceived as a solo project to the extent that I have created all songs and authored all lyrics up until recently. But I would say it is not.
If I had ever maintained such a desire I would not have engaged the corporation and participation of anyone at any point; and the situation is apparently not such.
And operating and advancing in association with someone else gives me the possibility to advance beyond the confinement of personal subjectivity.

20. You have been with C.M.I. since your first album, how's your relation with Karmanik?

Roger & CMI are by all means supportive of me and Rose-Marie's operations as far as they correspond with the objectives and desires of Cold Meat Industry.

We have undivided artistic freedom to express and present ourselves in any way that we desire and deem justified; aesthetically, intellectually, technically and spiritually, and there is no immediate supervision related to our conducts and operations.
And as far as the situation continues to prosper, I have no desire of changing record label.

21. Future plans for the band?

There is a limited 2 x 7" box '4 Life 4 Love 4 Lust & Roses' being completed as we speak, and as far as my desires are possible to realize I hope for its impending release at some point throughout 2001.

There is likewise the conceivable possibility of upcoming performances throughout the duration of next year - possibly in Portugal, Spain and Germany, but likewise the possibility of three performances in South America.

22. How is your relation with live concerts?

We have performed on various occasion throughout Europa since 1996 and come to experience both good as well as dreadful arrangements, and although the situation of performing has become somewhat of a venture in recent times, our compiled impression and relation to performing live is relatively good.

Performing live we try to present an act that is aesthetically affiliated to the philosophical, spiritual & aesthetic aspirations of Ordo Rosarius Equilibrio; whether it is akin to contemplated irony, militia or fetishism; 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 - the 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.

23. Also your CD graphic is always very well done… it seems to me that image and images are important for you…

The visual imagery is indeed of invariable importance.
I believe the complete understanding, realisation and sensation of a work is compromised in the situation of exceptional music being presented akin to unrepresentative and imperfect imagery.
The conjectural success and apprehension of a work is all relative to the congregated impression of all incarnated elements, and the artwork of our works are consequently a delicate procedure of considerable consideration, thoughtfulness and intent.

24. I have a curiosity: in "The Triumph of light....", the pictures always show Jesus without head; is perhaps, connected with Renne le Chateau and the theory about the identity of Jesus?

There are two conceivable interpretations for this imagery.
One intention was trying to establish my personal conviction of Christianity's deficiency of verbal capability and significance, alongside the establishment of Christianity's veritable self as that of herd indifferent to whom is its shepherd. But there is likewise the assessment of my sincere conviction that Jesus certainly could use some head.

25. You can conclude as you want.

Realise yourself.