tions were different for what would become “Ordo ad Chao”: “We both knew from the very beginning that we were not going to do another ‘De Mysteriis’, seeing as this album was recorded back in the ‘90s and there was no point in trying to recreate a similar atmosphere. Attila was also very young when that album was recorded and has created many different things since then. So, I told him from the very beginning that I knew what people were expecting but that they were not going to get it, mainly because I am really keen on retaining my integrity as an artist, and he totally agreed with me” (John Stefanis, 2008) The writing and recording process for Mayhem’s fourth full length was a strenuous affair for everyone involved, not in the sense that band relations were going through a hard phase, but
because of all the energy that was being generated in the sessions, which left the musicians drained as Attila once explained: “we’re almost bleeding when we come out of the studio. I think it’s much better to stand up and fight or shout at each other every day—we don’t do that but let’s put it in an extreme way—it’s still better to speak out the problems into the eye of the other than to hold it in and one day go and stab someone in the back. If you’re playing this kind of music on this level, you will see that it’s not a joke anymore. We are really playing on the edge of some kind of madness.” However, even going through this moment, Attila showed that the band still kept affairs controlled with discipline: “We are trying to control ourselves. It’s healthy that we have these arguments. Then the band can still keep on and go ahead. (…) All in all, people have great respect for each other” (Quadrivium #5, 2008).
Blasphemer also gave an insight on how the creation process for “Ordo ad Chao” was affecting the band on an interview to the “Get Ready to Rock” website: “Attila was drinking a lot at the time because we all felt really depressed after each rehearsal when we had to go home. When you have to deal with sounds that are not ‘suited’ to you, the result really affects you - music really affects you in that respect. You understand, of course, the ‘reaction’ that happens when our music meets with the natural flow of things - we all became slightly depressed, having a really hard time to cope with things. You almost felt the presence of a ‘black cloud’ - one that was approaching further down towards you” (John Stefanis, 2008).
gave to the Ultimate Guitar website: “for “Ordo” I wanted everything to sound like shit, more or less. No joke. I wanted a really disturbing and muddy sound, totally opposite of “Chimera” and especially “Grand Declaration of War”, which both are very sterile, cold and clear sounding. I wanted to do the opposite of that and also to turn my way of thinking towards the album. Both in riffing and arrangements. (…) I wanted it to sound raw. Even if I did a mistake on “OAC” I probably wouldn’t have changed it. Actually, I know a few mistakes that’s on there, but they sounded so cruel that I just let them be, Very much improvised indeed. However, it’s important to know that I’ve spent a great deal of time on the music composing it, as I do on every album” (Ryk Weston, 2008).
After two years of writing, recording and rehearsals, “Ordo ad Chao”
A few months after its release, “Ordo
was released on 23 April 2007. It was again another revolutionary album that displayed a totally different musical registry from its predecessors. The production was raw and muddy, with a great emphasis on a bottomend bass heavy sound, and the drums weren’t equalized. The structure and arrangement of the songs were highly unorthodox and simultaneously complex. It was seen as one of Mayhem’s best albums so far and peaked at number 12 in the Norwegian music chart, the band’s highest charting position ever. The sound of “Ordo ad Chao” was reason for fan discussion during the following years. It took two years for Blasphemer to create the “most sick, intense and bad (as in good) riffs possible” (Frostkamp, 2008) and his intentions about what he aimed to achieve as the main driving force behind the album’s music and sound were clear in a statement the guitarist
ad Chao” won a Spellemannprisen award from one of Norway’s most famous music award ceremonies, for the Best Metal Album of 2007. Necrobutcher accepted the award, but recently revealed what he truly felt about that accolade to AGAINST MAGAZINE: “I was thinking that this recognition should have been given to us when ‘De Mysteriis’ came out in ‘94, or when ‘Grand Declaration of War’ came out, which was a fucking masterpiece, and then give this to us now…it’s a little bit like calling me afterwards and saying ‘Ok…sorry, we didn’t recognize you before, but…’. That’s how I felt you know? This didn’t help us shit now…It could maybe have meant something 15 years ago, but now? Who the fuck cares? I don’t care…Now it’s too late” (Against Magazine, 2014). The cycling tour that followed for the promotion of “Ordo ad Chao” presented some more “over the top”
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