"Decline of Europe" by Oswald Schpengler in the Century beginning had execute the Prophecies of ancientest Centuries rituals, to pointed out and based for everybody of us the soonest result of Great Imperium of Human domination, which had renounce from symbolism of forecasts, which had crucify and be deprived of honour of own Gods - the World that close to the edge of Agony, global decay, desacrolisation, envolution, casting degradation and prepare Great changes. A Ruin of Gods in the XX century' result - in the deserted dark monotonus sound of post-industrial rituals and reincarnational frankness that have revival these days, is talk nowadays on language of new cultural ideologies and self-identification.

...reaping the fallen angels...

In 1989 in Linkoping, Sweden, together with Mikael (Inanna), Fredrik (No Festival of Light) and two other guys, Tomas Pettersson personally started his musical creations. They formed an industrial percussion band in the likes of Einsturzende Neubauten and Test Dept, more organized and prominently monotonous though, and which lasted for about a year until their various motivations separated them, and after which he and Mikael formed Archon Satani and participated on the CMI compilation "2x6".

The ARCHON SATANI entrancement began in 1990 as a reaction to personal frustration. The two members started AS as a project in which they could combine their different views and ideas of experimental music. In their music they try to express their own thoughts as well as influences from statements and ideas by A.Crowley and A.S.LaVey. These sources of inspiration give AS their dark and mystical sound combined with lyrics about the individuality and personal freedom of mind. The two members has now split up. However, Mikael (also Inanna) will continue with Archon Satani and Tomas has started a new project, Ordo Equilibrio.

(from the booklet to Karmanik Collection, 1993)

"What primarily attracted me with AS was the possibility to create something absolutely in relation with my personal ambitions. To create a sound incorporating highly ritual and ambient elements, and which was the primaly reason for forming AS, to create music in relation to mine and Mikael's individual ambitions and appreciations. A music in relation to our personal inspirations around that period in time, such as for instance the very early Sigillum S and Ain Soph..," - nowadays Tomas speaks about matters of Archon Satani.

ORDO EQUILIBRIO was formed in May 1993 as the direct result of a fall-out of Archon Satani between Tomas Pettersson and Mikael (Inanna) Stavostrand. To complete the line-up he asked Chelsea Krook to joint the band. Together they are to create a bleak monotone sound occasionally combined with acoustic instruments and vocals.

(from the booklet to Karmanik Collection, 1993)

Archon Satani was the outcome of their mutual ambitions and motivations, unlike Ordo Equilibrio which is the absolute outcome of his individual ambitions under influence of his girl-friend Chelsea, and "which certainly conferred with a very interesting and educational time of my life". "I have later heard people say that if you play Ordo Equilibrio and Inanna concurrently it will form the sound of Archon Satani... (laughter) It's a thought at least and probably not completely untrue"...

Head and relish to the masterly sound of Ordo Equilibrio, "The Triumph of Light... and Thy Thirteen Shadows of Love" is not only the most ingenious release in a long, long time, this is the sound of Completion. It takes off were the previous CD "Reaping the Fallen... the First Harvest" left us, mouthwatering for more. There is the familiar dark bleak sound, often accompanied by the strumming of an acoustic guitar. But the sound has evolved tremendously, it's so much more refined... (Soma, #5, 1997)

Been born from language of the world of symbols and rituals that have inspired their individual search in the cold world of Nordic Spirit on the way to light and endlessness and uncompromising things, "The purpose of Ordo Equilibrio is to serve as an emotional and creative outlet on behalf of me and my entire being. Where I may direct my philosophical and ideological convictions and challenge the induced standards of modern day society and the intellect of the listener. Therefore Ordo Equilibrio is foremost a personal calling and my individual credo. Endowing me with personal comfort and creative outlet. I secondary anticipate to make people reflect on my beliefs and convictions in comparison with their own beliefs and current status's, and where the important objective is to generate individual contemplation. From there within may later individual liberation, evolution and progress commence, and in a more extensive perspective, a variation in the thinking process of capable and gifted men and women, and even more extensively their progeny, and their progeny, and their progeny and so forth..," - Tomas elucidates me his general idea for Ordo Equilibrio.

Late at winter of 1997 our conversation with Tomas Pettersson, the main ideologist of Ordo Equilibrio, has finally started - about today's individual radicalism, modern creative-spiritual ideologies, Balance between an own inner personal vision and Natural Powers, human existence, sound, eternal Truth and Lie, Faith like a Weapon of Vengeance... finally, about Ordo Equilibrio and their place in the Last Nothern Crusade - like the one of most interesting important discovers of modern ritualistic Euro-scene last years, which nowadays in language of Past and the Present is carrying on talk about Future for everybody of us.

ACHTUNG BABY!: Some days ago I found Mikael' message where he named your new work as "one of the best releases CMI ever done..." But let me ask you: are you really satisfied with the final results for "The Triumph.."?

TOMAS PETTERSSON: "The Triumph of Light.... and Thy Thirteen Shadows of Love" worked out really well, and I am extremely satisfied now after I view the final results.

What did you mean saying: "I was not satisfied with it, so in the end I believe everything worked out for the best" ?

What I meant to say was that, due to the complications we experienced I got the chance to revaluate the material and the first recordings we accomplished. I then realized that they could be composed and recorded more sufficiently after which I remixed them and completed them at the best possible result.

But what's happened with original date postpone of the release? Any problems with sound quality or you wasn't satisfied with the material' brought together?

We had mayor recording difficulties during the creation of "The Triumph of Light...". Our recording equipment failed consistently and forced us to remix the entire record on five different occasions over a period of 6 months, which is the reason why the record has become so dramatically postponed. During these compilations though, I decided to rearrange parts of the sound since I realised I was not satisfied with it, so in the end I believe everything worked out for the best.

Do you have any personal vision for your next creative steps?

We are entering the studio in one or approximately two weeks to finish off the recording of our forthcoming release "I 4 I". A limited 7" picture disc which is to be released on the 30th of April this year, exactly one year after the anticipated release of "The Triumph of Light....", in combination with the recording of our contribution to the forthcoming CMI 50 Compilation, which also will be a new song. Initiating some anticipation for our third CD, and giving me the possibility to release some new material. After all, "The Triumph of Light...." was finished a year ago almost, the first time in February 1996 and finally in August 1996, so it's pretty old for me, and releasing a new song on the compilation gives me at least some personal satisfaction. I currently feel the desire to release some new material, something to feed my ego. I have been waiting a long time for "The Triumph of Light..." to be released. It was recorded a year ago and it was, for me and Chelsea at least, quite old by the time it was released. I have also commenced the composition of our third forthcoming album, which is scheduled for release around the time of late spring 1998.

Could you tell me more details about 7": what does "I 4 I" mean?

"I 4 I" is as I mentioned previously a 7" picture disc. Limited in 1313 copies. It will include two exclusive tracks titled: "Nature seeking Equilibrium. War for the Principal of Balance", and "In the Grassy fields where the World goes to Sleep. We kissed this World Goodbye", that won't take place on any future releases, but who exclusively will be performed live after this record has sold out.

"I 4 I" both referrers to: I for I, Me for Myself, as well as being a representation of; an Eye for an Eye, a Tooth for a Tooth... "I 4 I" gives me the possibility to release something NEW, and I am quite satisfied with the two songs that will be presented on this forthcoming release. The first song "Nature seeking Equilibrium...." differs in sound slightly, in comparison to previous songs we have recorded. It is still Ordo Equilibrio, but it is probably the happiest song I have ever recorded. What ever that means :) It received lot's of appreciation when we included it as part of our performance in Germany this previous winter, so I believe it will be appreciated.

I've heard about your sado-maso-horror video on back stage' screen on Ordo Equilibrio concerts, is it a part of your musical-creative ideology or of any other tendences?

I do not believe horror is an appropriate word to describe the content of this video. It contains specifically selected fetishistic and pornographic clips that have been compiled highly intentionally to form a video that reflects on the content of our music. It also serves as an atmospheric source which originates a certain complexion which I desire to initiate as part of our performance.

Our intentions though are to create a video, composed exclusively with material produced and arranged by ourselves, but this takes time, and I think the current video up until then serves it purpose, of displaying the second side of the bands foundation.

Returning to your new material, in your interview with Dirk Hoffman (for German Zillo magazine; also re-issued by CMI-newsletter, #3, 1995) you said that for your second release "subjects are also still similar, yet more Satanic than Anti-Christian..." and "will also contain lyrical material that perhaps can be perceived as Fascistic...", is this really so? What about your inspirations for the second work - ideological, cultural, ritual, extreme maybe..? What's the way was inside you between this two releases?

Yet more Satanic? I do not now if I really view "Reaping the Fallen... The First Harvest" as especially Satanic, rather Sacreligious if you care for my opinion. I believe that there is slight a differance midst the two, and which may be explained such as that "The Triumph of Light... and Thy Thirteen Shadows of Love" rather may be viewed as Satanic on the counts that it deals more with subjects reflecting on Satanism and the philosophical creeds of the Satanic ideology, as I percieve it, such as; Individualism, Individual upsurge, Individuation, Self-Indulgence and so forth, unlike "Reaping the Fallen, The First Harvest" which deals with my observation of Christianity and the futility it brings.

Regarding the inclusion of any fascist lyrical content, I can only say that this is in the eyes of the beholder. I merely know that my observation regarding people of different sufficiency, "The strong and ingenious will always outlive the weak and frail" will be viewed by certain people such as a fascist creed, dispicable to some, the thruth to others. I also know that the last song "Living by the Sword. Dying by the Sword. The lustrous Banquet", which symbolically deals with the solution of the everlasting conflict in the middle east, will be viewed by many as perhaps Racist? or Fascist? Highly controversial and which will perhaps reflect negatively.

Could you tell me how do you compose your music and what sources do you use to create your sound?

How it usually works is that I obtain an apprehension of some kind, conferring me with a highly substantial, almost material emotion, through which I originate the composition of the song. In reference with the emotion I later embrace a representative lyric and try to converge the two individually completed sources into one essence, and which usually works with a remarkably adequate result.

We exclusively work through the use of sampling. The sound sources that we use are primarily various records in combination with our own voices.

Also I think that the acoustic sound is a very important side of Ordo Equilibrio. Why acoustical sound is it of that importance for you and are you going to develop your acoustical interest in your future works?

The acoustic sound was something I had always wanted to create, even during my involvement in Archon Satani, and after my departure from Mikael I had the possibility to develop those specific desires and convictions. The acoustic sound is important since it is linked with my being and confers me with the possibility to create a sound that is ultimately a reflection of my individual ego. I create music that I personally appreciate, and this is the sound I appreciate. The sound has evolved and become refined since the creation of "Reaping the Fallen... the First Harvest" and there might be a slight difference midst the two.

"The Triumph of Light..." is more acoustic, and according to some more drawn towards the sound of World Serpent. This is not something I choose, it was rather something that happened naturally as part of my individual progress linked with the development and refinement of an already existing soundscape, linked with me and my convictions.

Who is helping you with the art-work design of your releases and what does the art-work design mean for you and your creative ideology, music, ideas?

The artwork and the complete aesthetics of the recordings are an extremely important factor since it reflects entirely on the content of the completed piece. The artwork is the first aesthetic contact a non-initiated, unfamiliar listener gets with each specific work. If it appeals to him or her, it interests them, if it does not, they will not waste many seconds to investigate and familiarise with the content.

I feel that the artwork is one of the most important factors within the creation of a complete aesthetic manifest. It completes the concept, and reflects on both the entire band/formation as well as the ideology and creativity that may be found within. Concerning the artwork of Ordo Equilibrio. It is compiled and designed by us (me and Chelsea) in combination with Roger, who ultimately arranges the idea into graphics. We usually send him photos and explain our concept, he alters it, we listen to his suggestions, complain, and we finally come to a mutual understanding.

"Reaping the Fallen... the First Harvest" was quite easily completed since it was our first manifest. "The Triumph of Light... and Thy Thirteen Shadows of Love" was slightly harder to accomplish. I had several ideas for how the artwork could be completed, but due to performances in the summer, the autumn cold and finally winter and snow, we where prevented to go through with them. In the end though, "The Triumph of Light...." turned out very well and I am overall very satisfied with its aesthetics, and the entire piece, such as a complete manifest.

The inspiration for your creative ideology you are getting from Sweden historical roots. Sorry, I don't know more in details about the situation in modern Scandinavia, except situation with CMI and Norvegian Black Metal movement? How many people share your views there? (As far as I know, your views in Sweden/Norvegian musical-ideological environment doesn't always coincide with other artists'. Could you comment this situation in details?

There are naturally a great measure of different ideological sentiments that reside within the entire Scandinavian music scene, and all of them can not coincide, it is not possible. Imagine what the situation would be like if the entire Russian population would have ideologically coincided. Then the situation would not have perished. Evolution and progress would have been hindered, and change would not have been initialed. A frightening thought, don't you think?

I do not coincide with various peoples believes and ideologies, and perhaps they do not coincide in regard to mine, I know Consono does not, but why bother. If they can not tolerate what I have to say, who am I to waste precious time and potential on them, "Thou can not Love them All", it would merely be a process of draining oneself emotionally. I do not necessarily see myself as not coinciding with the Scandinavian Industrial, Black Metal scene. I believe there is a difference though which rests in the fact that I through my philosophy do not to limit myself through dualistic limitations, but rather approach the problems through a realistic and rational point of view, revealing both the positive and negative aspects, sometimes initiating conclusions that are not always in each and everyones best interest.

I do believe there are some stimulating bands with something intriguing and interesting to say, but they are unfortunately a minority. There are an extensive measure of bands who do not dare go beyond the induced limitations of self procreated ignorance, solely blabbering without thought, forming a concept merely out of posing and teenage rebellion, claiming to posses the power to change the world through Racial segregation, Arson etc. etc. in combination with irrational notations without any actual basis.

This is saddening and highly regretful. The problems extend somewhat further and require more concise and rational solutions that what I believe many of them have to offer, and that is the reason why I do not always coincide. I have no estimation on how many people actually share my views and philosophical creeds in Sweden, Scandinavia, or the entire world, some probably, a handful that I know by heart, but further from that I do not know. It does not really matter how many people share my views and notations, what is important is how many people reflect on them and get inspired to initiate change and alteration from them.

I believe the church burnings, to whom I believe you reefer when saying that my views differ in regard to other Scandinavian views, are highly symbolical acts who definitely confer with a reliable statement, but who only serve one purpose of the two it tries to accomplish. It will not eradicate Christianity from the world's surface, rather ally its believers towards one mutual enemy and bestow them with additional faith, but it serves the purpose of getting rid of the churches from our ancestral burial and ceremonial grounds, and if one wish to accomplish this, neither I see another solution, but I do not support them, neither condemn them.

Do you feel a certain "Northern" spirit? Does your living in Sweden, Scandinavia, influenced your creativity? Does your creation reflect modern historical-ideological processes and ways?

I replied to a similar question from a man I am corresponding with in New Zealand, and I had never really reflected over this query until then, but I believe there is such a thing, that could be referred to as " the Northern spirit"...

I am Swedish and I will most certainly always be. The Swedish and the Scandinavian area is later, such as any area inevitably influenced by our historical past, both politically and sociologically; the Vikings, the runes, historically invariable independence, prevalent national pride etc. etc. Some people can not relate to this influence and therefore try to part from our history, but parts of our past is, so called Pagan or Heathen and you can not separate from you past, only accept it and learn from it.

Therefore I am naturally a result of Pagan roots and ancestry, and I take pride in our mythological past, our Aesir religion, Gods procreated out of reason and balance, the runes, Seasonal celebration, and so forth. I personally believe though that it is harder to relate to and recognise the influence of regional mythology and history, the influences they have conferred, and the influences that reside within us, rather than perceiving and accepting the influences of other mythologies and historical events, since we are raised as part of our own.

I use the runes as a constant inspiration within the creation of Ordo Equilibrio and our compositions, creations and aesthetics. I also in some shape and form try to recognize and celebrate both midwinter and midsummer, as well as the vernal and the autumn equinox, but I do not practise any pagan northern rituals of ancient times if that is what you are asking, but the ideas and fragments of that time in history are there, and will always be.

I believe living in Sweden and Scandinavia influences me constantly. I do not believe the sound I create would be the same if I lived somewhere else, and I further believe it is possible to define a very unique sound within the entire Cold Meat Industry foundation, a sound which can not be found anywhere else. A Nordic sound. I am highly influenced by the yearly darkness, and our four seasons, the snow, the cold, our nature, and especially the autumn rain. Without these elements it would not be the same. I believe these elements altogether create and bring forth a "northern spirit".

As I said previously, it is hard to define and specify the from where influence to the creation process of Ordo Equilibrio derive. It does not solely derive from Scandinavian influences, but also from other inspiring sources and events:

The Second World War: The aesthetics and symbolism of the nazis, the choices, the outcome and so forth.... A recent event invariably responsible for the outcome of today and the outcome of tomorrow, a divergence and convergence of paths, "the Elwas". An important time in history when man decided to go one way rather than another.

Religion and Politics: Sociological subjugation and mankind's perplexity regarding choice, option and liberty. Mankind's incapability to reason and separate the truth from lies. Mankind need to be commanded. Mankind does not desire freedom of choice it's to perplexing and misleading. Mankind rather wants rules, dogma and strong leaders Christianity, Islam, Nazi Germany, Communism, The European Union....

Nature: "Mankind's true nature and the law of the nature". Mankind refuses to accept his/her true nature of an animal governed by the same law as all living things. To persist through strife and combat, to make room for its progeny through the use of war and destruction, to evolve and procreate, renew and thrive or inevitably crumble in an overpopulated, stagnant, and futile world. "The strong and ingenious will always succeed the weak and frail". This is a necessity, not an option, its an imperative basis for the world to persist and flourish.

Sex: Sex is a beautiful and invariable force that drives man forth. It brings pleasure and comfort, understanding, evolution and progeny. Mankind needs to accept and fulfil his/her sexual desires and fantasies rather than prevent them, and initiate self-procreated dogma and discomfort. It is imperative. Sex is a vital force than needs to be utilized.

As you may see, the main sources of my influence derives from religion, politics, philosophy, sex. Topics that I believe form the essence of the human nature, the world in which we live and life overall, invariably linked with the process of evolution and individual upsurge.

I think a lot and I tend to find the foundation to my inspiration and creativity within myself, linked with my thinking process and my quest towards complete personal individuation.

And what about your likeness and differences with Chelsea in your work? Generally speaking, the woman - what is she for your creation?

The female participation in OE is very important. The female (Chelsea) confers with an indefinite measure of influence. The female voice. The female sexuality. The female appearance etc. etc. Conferring balance, the "Equilibrio" to the foundation. The female is inevitably the "Yan" while I (the man) am the "Yin" and together we become an order of balance "Ordo Equilibrio".

Do you have an interest in the musical collaboration project with anyone (as, for example, Deutsch Nepal with The Moon Lay Hidden...), and if so, what would they be: musicians, philosophs, ideologists a.s.o.?

I do not have any specific interest in any musical collaborations with other artist/artists right now. I will contribute with a song for No festival of Light's forthcoming CD "No Festival of Light and Friends" which is sort of a collaboration in between No festival of Light and various artists such as for example: Ordo Equilibrio, In Slaughter Natives, Inanna, The Moon lay Hidden...., Deutch Nepal and many more, but this is the only collaboration that I intend to partake in for now. Chelsea and I will also participate on Inanna's forthcoming album, but that is as it says a participation, not any form of collaboration, but who knows what the future may bring....

What modern musical/ideological tendencies are of interest for you now?

Various industrial music still interests me. For instance; Coil, Death in June and Boyd Rice to mention but a few. I do not know if either you or me consider them as modern, but they incorporate so much, both visually, musically, ideologically, aesthetically, and therefore the interest never beckons. They trigger and challenge the intellect of the listener and are therefore timeless. I think certain Techno music are interesting and representative forms of modern creativity. They try to evoke and bring forth both the more subliminal as well as the tribal side of the individual and does so with various results.

There are other forms of interesting art such as performance art and various other challenging art forms. For instance Annie Sprinkle and Ron Athey, since they include carnal elements that I personally find interesting as part of their performances. Sexuality, body manipulation and fetishism etc.etc.

I consider fascism as quite interesting, it is neither necessarily modern, rather experiencing a revival at present. I do neither personally have any specific fascist ideological sympathies, but it accepts certain basic human principals, and it is therefore a ceaseless issue to discuss and reflect upon as a temporary option to today, and which makes it an interesting and highly controversial topic.

Satanism is also an interesting and everlasting topic that never ceases to amaze. Especially intriguing and regretful is how the media directs their stories regarding Satanism, displaying a completely abnormal side of Satanism. A Satanism that consists mainly of the unintelligence and incapability of potential losers who reside mainly as part of the Black Metal scene. This is subjectivity at its highest level.

There are not many modern ideologies that interest me. I rather find interest in the convergence of the past and the present and where the past definitely has more to contribute.

What is the cause, on your opinion, for revival of people's interest for dark, folk, cathedral, occult, satanic, fascist, ritual thing in these days?

I believe many people are observing that the world is failing. We stand before the start of a new millennium which usually means a natural measure of various inevitable variations in combination with the fact that people are perplexed and experience that they require change.

Many people are just probers. They seek for something. Something which may contribute with temporary comfort and substantiality. They will later subside and find that comfort somewhere else, and somewhere else, and somewhere else, and somewhere else... This is just a temporary phase for them, while others will prevail to procreate the necessary changes.

Many have come to the conclusion that it is imperative that we retrieve parts of our past to procreate substantiality and to satisfy our individual needs. The current ritual practises are not enough, there is no measure of individual celebration, no gods worth celebrating, no balance included in the socially accepted ritual practises and religions of today, and we are therefore experiencing a retrieval of the past; Satanism, Fascism, Paganism, Hedonism etc. etc. Man needs ritual stimuli that is in relation to his/her specific interests and preferences, not the church's nor the society's, but his/her own. Mankind also needs to retrieve balance once again.

The world is overpopulated. Societies are falling apart. Strong individuals are not aloud to upsurge in favour of the weak and the abnormal homogenous thinking process that permeate the world. Country after country suffer from inflation and devaluation. Money controls everything. Taxes increase and people are forced to give up their rightful share in favour of the state. People are becoming underprivileged and frustrated, while they experience that refugees and foreigners are pouring in over the boarders, getting financially compensated through the use of their tax money, while they simultaneously experience that the rest of their money is used as financial aid for under developed countries. The inevitable result is that; Nationalism increases. Foreign hostility increases and people find reason and solutions in National socialistic and Fascistic inclinations.

These alternative solutions for a better world later take their expression in various shapes and forms. Such as for instance in music, culture, religion and politics etc. etc. and where the Industrial and the Black Metal scene serve as perfect playgrounds for these various manifestations in their need to declare and direct their alternative ideological resolutions.

I4I pics: Jonas Sjogren, live pic: Marten Sahlen.

Igor Vaganov

Stockholm, Sweden - Russia

march 1,997

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