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Harvest History Month Pt. VIII; an Interview with Ordo Rosarius Equilibrio

Harvest History Month

The eighth stop on our trip into memory brings us to Ordo Rosarius Equilibrio, a group that is never shy about exploring themes of sex, war, and gender, as well as the historic battle between darkness and light. Having maintained a steady stream of engaging releases dating back to 1995 with the bulk of their material released by Cold Meat Industry, to this day Ordo Rosarius Equilibrio continue to be a dynamic act with the ability, talent and support from their fans to continually maintain a profile that includes a high degree of artistry, professionalism and relevance.

-Paddy O’Sullivan
Heathen Harvest 1.0 News Admin/Journalist; Heathen Harvest Periodical (2.0/2.1) Co-founder

ORE09_IGP3523_184

Ordo Rosarius Equilibrio   |   Credit: Pyhai Jin

Conducted by Malahki Thorn

Originally Published: Sunday, December 31st, 2006 @ 11:43 AM PST

Heathen Harvest: Can you begin by explaining how Ordo Rosarius Equilibrio was originally conceived and how the band came to form?

Tomas Pettersson: Following the discontinuation of Archon Satani in May 1993 I felt extremely unfinished. Archon Satani was my first successful attempt of musically accomplishing anything worthwhile, but although it was fun and gratifying, it was very one-dimensional; and in retrospect, the very result of the times in which Mikael and I coexisted — a happening which could never be reenacted. I had desired something more for quite some time, a medium by which to pursue my personal ideas and desires, and the idea of starting something on the side of Archon Satani suddenly became very important and absolutely necessary as far as I desired to pursue any so-called musical endeavors; and which consequently established Ordo Rosarius Equilibrio.

HH: Who are the current members that form the nucleus of the band?

TP: I suppose it is justified to say that the existence of O.R.E. depends on me, and without me there would be nothing; past, present or future. However, beyond me, the foundation of O.R.E. is established with Rose-Marie Larsen, my girlfriend and the mother of my firstborn son.

HH: How did you originally become interested and involved in the “post-industrial” music arena?

TP: I believe it all started in the mid-eighties. I was about 12 years old and I listened intensely to Depeche Mode, and in the search for additional stimuli, I came to encounter the musical accomplishments of Laibach, SPK, Test Dept. and Einstürzende Neubauten, latter followed by other bands such as Death in June, Coil, Current 93 and more.

About two or three years later (at the age of 15), me and some friends started our first unsuccessful musical attempt, a splendid result of how music shouldn’t be made, but which ultimately resulted in the establishment of my first industrial project, a band together with Fredrik called No Festival of Light. Bergström, MikaelInanna / Archon Satani”, Stavöstrand and two additional friends from Linköping, and which in turn resulted in the establishment of Archon Satani back in 1990.

HH: When you began O.R.E., were there specific bands, writers or other artists that had a direct influence or inspiration?

TP: I am a cultural illiterate, that’s a verified fact. I like pornography in most forms and find it quite constructive. I much rather waste an hour in front of the TV watching porn than wasting an hour watching an uninteresting drama, but I suppose all of the above mentioned musicians, along with writers such as Daniil Charms and Ayn Rand, film-makers such as Tinto Brass and Andrew Blake, have left an imprint, one way or another.

HH: The music of O.R.E. combines elements of folk, classical instrumentation and martial drums and samples. What originally inspired the sound of O.R.E.?

TP: I carried an idea of how I wanted O.R.E to sound, but just causing O.R.E to become whatever it becomes is a more proficient way to work for me. I just make songs. Nothing more. I never start with a premeditated notion of what I want, I just decide as I go about if it is good or bad. If it is good enough, I keep it, if it is not, I delete it and never look back.

HH: What do you perceive as being your core values?

TP: The primary value is that there are no values. We owe ourselves to fulfill every dream and every consensual desire. To strive towards self-realization and self-fulfillment. To achieve complete and undivided individuation. “To do what thou wilt shall be the whole of the law.”

HH: The music of O.R.E. goes far beyond the concept of music as entertainment as delves deeply into using music as a philosophical, social and spiritual platform in which you explore very personal as well as universal issues. Do you see O.R.E. as striving for a higher art form that engages the visceral senses as well as the mind and spirit?

TP: 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 canalization of selfishness. However, if this projection is able to invoke any sort of spiritual, sexual and/or intellectual improvement, so be it, then my work is done.

HH: In modern culture, O.R.E. would be most likely categorized as “dark music”. Knowing that labels are irrelevant to O.R.E., how does the band react to being labeled?

TP: Being subjected to categorization is beyond my control. People love to categorize and I can’t really do anything to about it. Call it Apocalyptic Folk Industrial, or call it Apocalyptic Pop, either serves its purpose depending on the context.

HH: Have you ever feared that, with success, your music would become “compulsory” listening amidst the gothic crowd and thus loose its potency by being diluted as mere entertainment?

TP: Many bands dread the notion of being associated with the gothic scene, but I am not really that concerned. Not all gothics are superficial, and not all industrial / neo-folk listeners are enlightened. The primary difference between the two as far as O.R.E. is concerned, is that our average neo-folk / industrial listener is male, and our average gothic listener is female. They all dress in black, and depending on what you call a uniform, they all wear one. Corset, mini-skirt and high heels, or black shirt, black army pants and black tie; it is all pretty damn uniform.

If you carry the ambition to remain true and exclusive to the neo-folk / industrial scene, you are definitely not in it for the fun. I personally don’t aspire to remain true and exclusive to anyone, I simply do this for me.

HH: Amidst the many themes present within the music of O.R.E. is a strong and recurring theme of the rebel or resistance against authority and conformity. Your songs often induce a sense of self-determination in the face of oppression. What are the forces you see your artistic vision opposing?

Tomas Pettersson (right)

Tomas Pettersson (right)   |   Credit: Alessandro Leone

TP: I personally oppose all forms of in-deliberate conformity and sociopolitical restraint that curbs the individual, but I don’t know if I seek to invoke or inspire opposition? I simply seek to invoke a sense of awareness; the comprehension that we are all masters of our own fate. That you can have it in the ass everyday if you want, that you can go outside with a gun and enforce justice onto those who deserve it, that you can share your bed with as many people as you like, and that there might be a better life beyond the morality of the just and self-righteous, despite obligations, expectations and regulations; as far as you are willing to accept the consequences of your actions.

HH: The spiritual nature of O.R.E.’s music is eclectic yet seems firmly planted in a Luciferian philosophy of self-realization through indulgences. Can you discuss your spiritual views and what it is you seek to communicate ideologically through O.R.E.?

TP: I believe that the essence of our existence and the very foundation to individual gratification and bliss, is established on the comprehension and utilization of our most intrinsic dreams and desires. Understanding who we are and accepting what we want is a grand step on the road towards completion. It is better to live and regret than to regret not having lived.

HH: The post-industrial “music-scene” is not exactly a “sexy” music scene beyond an individual’s willingness to bend gender and play dress-up in fetishistic garments. Indeed, the majority of post-industrial music is alarmingly devoid of traces of human sexuality. Why do you think the post-industrial music arena is so neutered concerning sexuality?

TP: I think you are considered “less” serious if you deliberately utilize conscious sexuality as part of your “art”. Using sexuality is in-compliant and more willingly considered as a conscious attempt to earn fame and recognition without being artistically authorized and / or capable. That which is portrayed needs to be artistic, and not utilized for the sake of sexuality itself. You can definitely employ sexual imagery as far as it is clinical, humorous or artistic, or if you are already artistically authorized by the establishment itself, but it may not be employed in an attempt to provoke a sexual response or earning any credit for being actually “sexy”. I think that is why.

HH: A strong sense of realized sexual indulgence and abandoned inhibition permeates the musical atmosphere of O.R.E. What importance do you see sexuality playing in art, music, life and personally to you?

TP: I find sexuality very important. Lust and sexuality determines who and what we are. Lust is one of the most fundamental feelings we possess. It is how we are defined by others; it is how we define ourselves. I fuck, I kiss, I touch, I feel, I taste, I lust and I get inspired by the feelings that sex and desire generate. So why not share these dreams and desires and let them be reflected through O.R.E.?

HH: How would you describe your own sexual persuasion?

TP: Bi, hetero, trans or homo is not very important. If I want a girl I fuck a girl, if I want a man I fuck a man, if I want both I fuck both. I am sexual; nothing more. Two is Company, Three is an Orgy. Four hands please better than two.

HH: Are gender roles as interesting to O.R.E. as sexuality?

TP: I like switching roles. Men as women, women as men. It creates ambiguity and depth, but creating overly obvious male and female representations is also rewarding for the same reason. I seek to create equilibrium through balance taken out of context; balance through imbalance.

HH: Do you create and define any boundaries, restrictions, reservations, or inhibitions concerning indulgence and pleasure in your personal life?

TP: Let’s do it alone, let’s do it as two, as three or as four; the more the merrier. Men women, women men. As far as there is consensus, anything goes.

HH: Why do you think that modern Western culture has so strongly opposed the freedom of individual sexual expression and realization in such forms as hatred towards gays, bisexuals, transgender people etc.?

TP: For the very same reasons that mankind opposes anything non-coherent; for the sake of fear and the inability to comprehend. A “normal” conformed man is incapable of comprehending with the notion of being sexually aroused by another man, or even more so, being lured into arousal by a man dressed as, or surgically transformed into a woman. Being aroused, or even going as far as to sleep with this person (of the same sex) would make his entire sense of self crack and crumble. What would it suggest? That he is actually homosexual? His whole sense of hetero-sexual belonging is suddenly compromised, and with whom is he now allied? Most men, would without a moment of a doubt, jerk off to the image of a woman in a suite, but me in a miniskirt and a pair of stockings is definitely a whole different issue. Cross-dressing only works one way for men, but both ways for women. But why do most men have male dogs? What does it really suggest?

HH: The music of O.R.E. often entertains references to directly Western occult subjects, but is noticeably devoid of references to non-Western spiritual traditions. Is the music of O.R.E. Euro-centric by default or intention?

TP: Life is a ritual. Our routines, practices and actions are ritualistic. The ritual we live is accomplished to procure stability, equilibrium and making our dreams come alive. Magic is the projection of will into consequence. I like to control and affect the outcome of my everyday life through ritual and projection, along with “ceremonial” magic for the greater good of many. It is as within the context of Western occultism that I find the practices which speak to me, personally. I find the Asian religions interesting, but not very reflective of me as a being. So I suppose I am Euro-centric by default.

HH: The music of O.R.E. embraces the past, present and future. O.R.E. has often references to ancient cultures and customs. Where does you interest in ancient culture arise?

TP: The present is a product of the past, and tomorrow is the reflection of today. In order to understand what we are, we must understand who we were. To see where we are going, we must understand where we come from. All I aspire, is to understand, that is the well of my interest.

HH: O.R.E. also propagate a message of the dawning of a new age following the collapse of our current age. Can you comment on O.R.E.’s vision of the “coming age”? What will pass and what do you wish to see emerge from the destruction?

TP: The Apocalypse, as I see it, has already started. It won’t start with the arrival of anyone or anything in particular, the Apocalypse is man-made, and it has already begun. We have already started dying from war, pollution, world starvation, natural disasters, man-made diseases, biological and chemical warfare, etc. The misconception is that people expect a grand finale; they keep waiting for some sort of divine fireworks, and it’s not likely to happen anytime soon.

The Apocalypse, for me, is just a process of change. It is not a permanent state as of eternal happiness, bliss, despair or misfortune; these are just religious descriptions of what the believers want the outcome of the Apocalypse to be.

Call the Apocalypse war, call it change, call it total moral depravity, call it social deconstruction, call it what you want. The end of the world has already started, it started with the genesis of man, and will sustain until the virus we call mankind is eradicated from the face of the earth. There is nothing we can do to stop it, and the only thing we can do in the meantime is to make as much as we can of the petty time we have been granted.

All our thoughts and conceptions are tainted, not only our beliefs in how the world will end. We believe that we are free, in mind, body and spirit, but this is the greatest illusion of all. The misconception of the Apocalypse is that people expect a grand finale; they keep waiting for some sort of divine fire works, and it’s not likely to happen anytime soon. People must realize that this is it. The end of the world is happening every day, every hour, every second.

My Utopia is hardly a New Jerusalem in the eyes of most others, but as far as I have been informed, the Antichrist is already here, he is institutionalized in a psychiatric ward outside of New York and wrote me a letter about two years ago asking for my assistance. So, now you know, and now you can stop wondering about his arrival and his whereabouts.  I also believe that Jesus is next door, also eating his medication.

Rose-marie Larsen (left)

Rose-marie Larsen (left)   |   Credit: Alessandro Leone

HH: What are O.R.E.’s feelings towards Israel and the current conflict there? I ask because of your outspokenness concerning this region and its politics.

TP: When we murdered the world on the 14th of May. Israel itself, as a nation amongst nations, does not pose such a terrifying threat to the world, despite nuclear weapons and advanced military technology, but as a slave-nation to the U.S., they are considerably more dangerous. Israeli interests are Judeo-American interests, Israeli enemies are Judeo-Amercian enemies, and so on. One idiot is replaced by another, whether his name is Bush, or Sharon, Clinton or Netanyahu. Traditions are dangerous. They obstruct change, and the conflict just goes on and on and on.

The world looks pretty much the same as before 9/11. The same countries pose the same threat to the world’s continuation as they did before, but the particular countries are not necessarily a threat by reason of the military force they possess, or the chaos they are able to create through war and/or general mayhem, but more willingly by how they divide the rest of the world into camps of pros and cons. The political climate between Russia, China, USA, Israel, France, Germany and the United Kingdom makes more of a difference to the world as we know it, than any war caused by any Semitic country in the concerned region.

Bush and Blair decided to invade Afghanistan and Iraq; Saddam Hussein was removed from power and Iran rose from the ashes, but all this was more willingly an exhibition in military power by the NATO than any war for the sake of liberation.

The world didn’t change as much as America did, but maybe this changed the rest of the world. I suppose everyone keeps an extra eye on the local Muslims and what’s going on in the local mosque, but what was it like before, do we even remember?

The Third World War has already started, some are just too blind to see it; believing it will look the same as WWI and WWII, but the times have changed and things don’t look the same anymore, and neither does war.

HH: O.R.E. has a recurring theme that balances the duality of war and human conflict with love. These two human endeavors seem as old as man. Can you discuss what keeps drawing O.R.E. to the two forces of love and war?

TP: We are conceived as a consequence of sex, and sometimes love. What we seek while we live is the fulfillment of desires through sex and sometimes love, but what we endure while we live is the perpetual war between life and death. Life is war. Love is war. Being alive is the perpetual struggle of being at war. As we are born, we start to die. One does not subsist without the existence of the other. Life and death, pain and pleasure, good and evil, they all create balance and manifest equilibrium.

HH: Your self-philosophy is one of indulgence and gratuitous experience in the pursuit of fulfillment. Christianity which is the basis of Western culture promotes restraint and repentance. Can you share some of you feelings towards Christian theology and how it has influenced your life and O.R.E.?

TP: Christianity is responsible for perverting our entire sociological and sociopolitical structure. Our entire way of thinking, living, acting and so on, are influenced by Christian morals and misunderstandings, whether we want to or not. Abstinence a virtue and indulgence a sin? What is sin? Rejecting everything that is human and natural in favor of abstinence? Without sin there can’t be no salvation, right? Our entire vocabularies are permeated by Christian references, light is good, dark is evil, evil is bad, good is commendable. Repentance and abstinence leads to heavenly salvation, while indulgence and delight lead to eternal damnation. What is good? What is Evil? Isn’t it good to do good to yourself; to act according to your dreams and desires? Isn’t evil the opposite, to deny yourself pleasure and satisfaction? What is heaven? If you live in abstinence and deny yourself you are rewarded with a place in Heaven? For what sake? Is abstinence no more in Heaven? Is heaven just one big orgy waiting to happen? Christianity is responsible for causing tremendous suffering over thousands of years for millions and millions of people. Haven’t we suffered enough?

HH: O.R.E. and the greater post-industrial music scene seem divorced as a subculture from modern Western culture. What has created this rift between the post-industrial culture and its parent “pop culture”? Do you see it as “us and them”?

TP: The rift is the result of money and commercial interests. There is very little or no money to be made in this scene. Particular labels might earn enough money to make a living, but not the artists themselves who roam the “post-industrial” arena. I am however sure that if any of the big labels would reach the conclusion that there was money to be made from any band or bands as part of the scene, if national socialism became trendy again, or if someone was naughty enough to exploit for the sake of nudity and sex, they would definitely try to use it and exploit it.

HH: Do you think a particular type of person is drawn to the music of O.R.E.?

TP: You tell me. I have absolutely no idea who our average listener is, especially since I think the situation has changed with the release of Satyriasis and Apocalips.

HH: Many people comment that the lyrical content of O.R.E. is dense. I find the lyrical content a major draw as you obviously put a tremendous amount of passion and dedication into your writing. Do you perceive O.R.E. as a vehicle and commentary for your personal philosophical evolution?

TP: Of course. 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. I don’t seek to go one way rather than another, it just happens. I became a father in September 2004, to the most wonderful of men who enriches and completes my life, and I suddenly realized that all the time I once thought I had, was gone, dreams I possessed suddenly seemed harder to realize, and everything that I took for granted, was just an illusion. This very diverse and sometimes ambiguous feeling of becoming new while still remaining the same, while becoming complete while feeling absolutely inadequate, has certainly affected my personal “apocalypse” and forced me to look inside my micro cosmos for answers. I am still searching; I do not know what I seek, so I will probably never know if I have found it.

HH: You recently launched and are hosting a new organization called The Army of Roses. The Army of Roses is a voluntary collective of like-minded people gathered under the O.R.E. banner. Now that you have raised the call and formed your army, what is the goal of conquest?

TP: The Army of Roses & Equilibrium wasn’t recently launched, but was more willingly an ambition I founded along with the O.R.E. website back in 2000. Right now, I am not very satisfied with how it has evolved, and how I have neglected its possibilities and caused it to stagnate. I must hence change it and make it resume its originally intended form. A platform for the like-minded or a community for sexual investigations and dreams cuming true? Time will tell.

HH: The music of O.R.E. has developed into an epic saga of symbolism, myth, and spirituality. Now that you have such momentum, what do you most wish to communicate or accomplish with O.R.E.?

TP: 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, lyrically as well as musically, musically as well as graphically. If this canalization of selfishness through text, music and images 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.

HH: If you can have an influence on your audience what influence are you striving for?

TP: Group Sex.

HH: In some cases the philosophy of O.R.E. resembles that of Aleister Crowley and the Temple of Thelema. Have either of these two had an influence on O.R.E.? Do you see a similarity?

TP: Various phrases and writings of Crowley have certainly left an imprint in my mind that most likely have affected my observations and reflections of the world in general, so there are probably some discernible similarities.

O.R.E.

O.R.E.

HH: If man does have hope of any kind in this millennium what do you believe will be the solidarity that unites us?

TP: A mutual enemy.

HH: The current occupation of Iraq by coalition forces appears to be Western civilizations attempt to infiltrate some of the last deeply traditional and non-Western cultures left in the world. What are your feelings and insights into this global issue?

TP: I am not particularly pro-Muslim with any notable sympathies for Islam in general, so as far as I am concerned we can just keep the bombs falling; and when there’s nothing left, we can build airports and spa-resorts all over. But from a less narrow-minded point of view, we can just leave them alone to be masters of their own fate. At length, I suppose it is not that easy, the problem is and always will be, Israel and Western interests. One Jewish oasis in the very heart of an Arabic desert. It can’t work, and it won’t work. Any enemy of Israel and Israeli interests, is an enemy of the U.S and Judeo-American interests. So just keep the bombs falling, all over.

HH: Can you discuss your interest in submission and domination? Do you have insights into how these roles and social mechanics are applied or ignored?

TP: My interest in D&S as well as B&D is partially fetishistic; founded on my devotion for legs, stockings, high heels and corsets. Without them, neither domination nor submission would give me as much. I would still feel aroused by a slave eager to please its master, or by a just mistress, willing and able to enforce punishment and domination, but not to the same extent. My insight is akin to my personal experiences, and I suppose that growing older and wiser has made me realize that I am better suited as dom than sub, but I can swing in any direction.

I feel that any sort of consensual sex is liberating, whether it is domination & servitude, masturbation or just plain sex between any number of people. Gratification is merely a matter of challenging and realizing your dreams and desires than utilizing particular practices believing that they will provide liberation. If anyone’s dreams and desires are to be dominated and surrendering to someone else’s dominance, thereby challenging your own desires and taboos, sure, then it will definitely be liberating, but if you don’t find the idea of servitude and obedience especially appealing and more willingly dream about voyeurism, then there’s no real value in searching for liberation in BDSM in particular is there? As we change, our desires change along with us.

HH: Why do you think that people abroad have such a visceral and knee-jerk reaction to anything that invokes Europe’s past such as the continent’s political struggles with totalitarianism, communism, fascism and the Nazi political party?

TP: Most -ism’s are considered disturbing in one way or another, and that which is naughty always invokes dread and fascination. It’s no stranger than that. Sado-Masochism was very naughty until it was overexposed and exploited by mass media and various famous artists such as Madonna a few years back. I wouldn’t say that flirting with Nazism and totalitarianism have any especially knee jerking effects in the U.S., rather the opposite, while Communism, on the other hand, seems to be a much more delicate issue. In Europe, however, Communism is okay and you can be just as red as you want, while you will be completely burned and banned if you advocate and support any sort of alleged right wing activities, past, present or future. Despite of all this, Fascism and National Socialism still invoke fascination all across the European continent.

HH: Do you perceive a collective resistance to or denial of Europe’s past by its own people?

TP: Partially. Every nation’s relation to its historical past is different, and I can merely speak for Sweden and parts of northern Europe. Here, we are constantly engaged in a battle against our past, ever seeking to prohibit symbols, nationality, race, gender, status and anything else which could reflect negatively and make reference to any part in history that we wish to divorce, especially WWII.

HH: The future of O.R.E. seems very bright after the last two releases. There has been a reported stall in the release of “4 Life 4 Love 4 Lust and Roses”. Is this delay due to your working with Cold Meat Industries?

TP: 4 Life 4 Love 4 Lust & Roses was endlessly postponed and finally cancelled by Cold Meat Industry, so maybe it has something to do with it.

HH: Will 4 Life 4 Love 4 Lust and Roses ever see the light of day or should we be resigned that the album is missing in action?

TP: 4 Life 4 Love 4 Lust & Roses will be re-conceived some day, but the original idea and the original songs are missing in action. But when it ultimately sees the light of day I will try to make it worth the wait.

HH: Cold Meat Industry released “Satyriasis” over the past year. “Satyriasis” showcased a collection of songs contributed by both O.R.E. and Spiritual Front. Can you explain how this release was conceived?

TP: I believe Satyriasis was conceived from a mutual perspective of how we comprehend each other and ourselves, that we enjoyed each others company and that we had been brought together by fate for our mutual belief in sex, depravity and demoralization as the remedy to world salvation, not an outspoken concept of how to proceed, but more willingly something we felt; and Satyriasis seemed like an appropriate title for a collaboration between O.R.E. and Spiritual Front.

HH: How did you and Simon Salvatore meet?

TP: We met at an orgy in Berlin. We recognized each-other since we had mutual friends in Italy, and between various “censored” acts of adult character, we had some drinks and started talking about life, sex, death and music, and came to a mutual conclusion that maybe we owed it to ourselves, and the world in general, to make something worthwhile together. It was an interesting and very rewarding meeting. We have met several times since, but a first meeting is always the first.

HH: Is your relationship restricted to your musical collaboration or are you friends outside the studio?

TP: We are also friends outside the studio, but Rome is really, really far away if you live in Stockholm, and vice versa, so we don’t meet as often as we should, despite the best of intentions.

HH: Were any of the songs composed together between O.R.E. and Spiritual Front, and if so, how did the recording process unfold?

TP: “Your Sex is the Scar” merges the music of O.R.E. and the words of Spiritual Front, and “The Pleasure of Pain” combines the music of Spiritual Front and the additional samples of O.R.E. At one time, the whole album was supposed to become a combination of ideas where all songs were the works of mutual efforts, but there wasn’t enough time, and living relatively far away from each other made synchronization quite impossible. So we relied on each others good judgement, recorded our contributions separately, and sent some material to each other by post when necessary.

HH: Spiritual Front and O.R.E. exude a similar vigor towards life and sexuality. Do you see a correlation between your own artistic ideology and that of Spiritual Front’s?

TP: As I said before, I believe we were brought together by fate and a mutual belief in sex, depravity and demoralization as the remedy to world salvation. He is a fantastic person. He is the “Armageddon Gigolo”. Girls love him; they swarm around him like flies are attracted to shit. I believe we think alike; we share a similar vision of irony and nudity, he brings out the best in me and makes me a better person, and since he doesn’t really understand what I am saying, he wouldn’t be able to tell that I am actually an idiot.

HH: The most recent O.R.E. release, “Apocalips” was recently released on Cold Meat Industry. How has the new record been received?

TP: Some praise without knowing why, simply because it is O.R.E., or because it was released on Cold Meat Industry; others dislike it for the very same reasons. The older you get and the longer you have been active, the more noticeable it becomes, but Apocalips has been quite successful, more successful I believe than I had ever dared to hope for. The first edition was already sold out in November, only two months after it was released. The reviews are good or very good, almost without exception, so I am just happy and humble about the outcome so far.

HH: Can you discuss some of the themes and ideas that you explore on “Apocalips”?

TP: Love: the deadliest, most lethal of all contractible symptoms. Pain & pleasure: how delightful, how deceiving, how consuming. Lust: how a flame of all worldly desires burns inside every man and woman. Life: I love to watch and be watched. I dream and I lust. I love and I hate. I laugh and I cry, but where does my testosterone take me? Enlightenment: how everything suddenly can become so clear with failure, after failure, after failure. Lies: what is truth and lies for those who neither see nor hear? War: how a never-ending struggle started on May 14th, 1948. Three is an Orgy; four hands please better than two. Loving as three might be the salvation we all search for. Who is kissing your Apocalips? Ignorance: not being able to see the forest for the trees. Are we really willing to accept the consequences of our actions? Change: How the sun always sets and every day always ends. How everything ever changes, but still remains the same.

HH: The production quality and song writing on “Apocalips” is a true achievement. Do you feel as if your skill as a musician is increasing with maturity and experience?

TP: Thank you. I am glad you feel that way. I would like to think that I have become a noticeably better musician over the last few years; especially since C.C.C.P. It was considerably easier in the beginning, so many ideas and so much inspiration, but such limited resources. However, today, 13 years later, the ideas are still there, the sudden undivided inspiration clearly more absent, but the technical possibilities much greater. So in order to achieve worthwhile results, I push myself into becoming better at what I do. What you hear are the results of hard work. I still work hard to improve and make the next O.R.E. release something extraordinary.

HH: Though you’re famous for telling interviewers to expect nothing of the future, can you toss us any crumbs and let us know what to expect in the future from O.R.E.?

TP: Apocalips was recently released and has so far accumulated more success than I had ever dared to hope for, so who knows; a new O.R.E. release of some sort should be expected relatively soon, and maybe even a trip across the Atlantic following some handfuls of concerts across Europe seems like a good idea, but time will tell.

HH: We want to thank you for answering our questions and sharing your music with us here at Heathen Harvest. Lastly, is there anything you would like to say in parting?

TP: Between the Apocalips is where we were created, and it is where we were born. They are the lips I kiss and the lips I savor. 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. Who is kissing your Apocalips?

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