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Sonic Seducer 2006.

1. The release of “Apocalips" has been postponed quite often. What did take so long?

I became a father in September 2004, to the most wonderful of men who enriches and completes my life [Julius Tomas Nathanael Larsen], and I suddenly realized that all the time I once had, was gone, and everything that I took for granted, was just an illusion.

Since Julius’s birth I have tried to complete both Satyriasis and Apocalips, and in August my quest will be complete.
It was better to let everything be postponed and delayed over and over again, than releasing something defect that would have been a disappointment to everyone.

2. Please describe the concept behind your new creations. What is happening on the album in your own words?

I create songs, and through the context of O.R.E they create a concept. I don’t seek to create a concept and don’t work from a premeditated conceptual plan.

The album starts off with the song “[Mercury rising] Seduced by the Kisses of Cinnabar Sweet”, laying the foundation of what’s to come; continuing with the track “Lost Forever in the Blitzkrieg of Roses”, successively presenting the legacy of the last two years of my life. Thereafter evolving and changing for more or less forty minutes with songs such as “Do Murder & Lust make me a Man?”, “I think about Germany and the end of the World” and “When we murdered the World on the Fourteenth of May”, ultimately ending in a grand finale with the song “Who stole the Sun from its place in my Heart?”; bringing about the end of Apocalips and giving rise to the question of what’s next?

3. Can you please describe the process how the new album was created?

How can I describe it?
The process of Apocalips started in 2004 with Rose and me having sex with some friends at our home here in Stockholm. I was watching Rose and another girl from the sofa, kissing, touching, feeling, tasting, and I realized that Apocalips was a perfect title to describe this moment and all that was ever important.
Between the Apocalips is where we were created, and it is where we were born. They are the lips we kiss and the lips we savour. They are the lips of lust and creation, the lips we seek to satisfy and the lips for which we suffer in desire. They are the lips that can start wars, and the lips that are able to end them.

That is how the process started; music and lyrics starting to form, the image and the sound starting to evolve, and through a similar experience some months ago, it all ended, and Apocalips was finally conceived.

4. How did your music evolve from the last release towards “Apocalips"? Was “Satyriasis" a step on the same stairway or would you consider it as something apart from the chronology?

Satyriasis gave me much more than I had ever hoped for.
I just expected Satyriasis to become a release such as any other, but it turned out to be much more. It became my return and evidently a work which featured some of the best songs I have ever accomplished.
It was more successful and appreciated than I thought it would be, and for that I very am happy.

The making of Satyriasis was also the starting point of Apocalips, but they are separate and do not belong together.

Apocalips is my best accomplishment thus far. It is superior in every way to all my previous releases. It is better orchestrated, more perfectly mixed and produced etc., etc. I am quite pleased about the outcome, and quite curious about how it will be received.

5. In our last interview you wrote, that sex is such an important influence, but I still wonder about a possible connection between music and sex. From my point of view, how can music be more than just background entertainment? Where could there be any connection?

My answer regarded ME as the creator and how sex serves as an important influence for ME in the process of creation.
I fuck, I kiss, I touch, I feel, I taste, I lust and I get inspired by the feelings that sex generates.
YOUR reflection solely relates to YOU as a listener, and for you music is probably nothing more than background entertainment, that’s fine with me; but for ME it is something completely different.
Does that make more sense to you?

6. Your music seems to have both a sweet and fragile side and a more straightforward one. How do you feel when you create it?

I utilize O.R.E to advocate my dreams, desires and opinions. It is a selfish tool of personal propaganda, and if this manifestation is political, sexual or philosophical, so be it; it is still me, and O.R.E.

What you hear when you listen to O.R.E is a psychological reflection of my mental and emotional state of mind during the process of creation.
Make what you will of that.

7. What would you say is the most special thing about your music?

That it is mine.

8. What does O.R.E. represent for you?

I live O.R.E. and I constantly carry it with me.
Everything I do can be embodied, and all I dream I wish to include.
O.R.E is a selfish outlet, it serves the sole purpose of satisfying myself, my desires, my dreams, my thoughts and the questions I have, what I portray is a reflection of me; and O.R.E is consequently devoted the matters of the inside sphere, MY inside sphere. And if this canalization of selfishness is able to inspire one single person to seize his or her life, realize their dreams, and LIVE life to its fullest potential, then my quest is done and it was all worth it.

9. If you wouldn’t create your music, how would your thoughts and believes find their way to spread?

I would try to overthrow the democratic system and become dictator; that way nobody could avoid me, or my thought, or my believes.
How great wouldn’t that be?

10. How did changes in your personal life influence your music over the years? What has changed since you started with O.R.E.?

Everything has changed. The scene is different, the organizers are different, the audience is different, and we have changed along with it.
I am a better musician today than I was 13 years ago; I know what I want and I don’t care what people think.
I became a father, and which changed my perspectives; the macro-cosmos became a micro-cosmos, and that which once appeared very important, rarely makes a difference anymore.
All this has caused me to change, and O.R.E along with it.

11. What would you like to do without limitations? How would O.R.E. look like or sound like, if there would be no limiting society and also no financial limits for your releases.

Yes, what would I do without limitations?
I would turn O.R.E into circus, a travelling cabaret of debauchery and moral depravation; a travelling burlesque theatre of music, wine and song; naked men and women; sex, food and flowers and orgies.
It would become the cabaret of Orgies, Roses and Equilibrium, a happy family that would come to city near you, and give you a night to remember.

12. Is there a certain direction you want to develop your music for future releases?

I wander aimlessly, without direction and without a given destination.
What the future has in store is also unknown to me.

13. Are you satisfied how your career in the musical business went so far?

Career? Maybe the word is correct, but I still have problems to see all this as some sort of career, it’s a struggle, but I suppose you are right.
Who ever thought that I would sit here in the middle of the night answering questions from Germany and elsewhere when I started back in 1989?
And who ever thought we would travel all over Europe and get paid for presenting the selfish results of ME?
There’s no need to complain; I simply try to accept it, cherish the moments, try to make the most of them and see how long it lasts.

14. Any upcoming side projects or are there already future plans for O.R.E.?

I have some ambitions and I have received some requests about collaborations, but I will keep my mouth shut till something substantial has been achieved.