Marius Strand – A poet of melancholic stories

Category: ArticlesInterviews

In a world where sometimes it feels hard to find yourself, Marius Strand keeps a strong relationship with himself and his desires. So strong, that his project The Fall of Every Season does not need more than one person to function perfectly: himself. His band represents a man pouring out his heart and soul in stories that mostly last over 10 minutes with acoustic, death-doom metal elements and melancholy. If i made you interested, proceed into reading more about The Fall of Every Season and the new record, ‘Amends’:


Alexandra: Hi Marius! First of all, for those not familiar to you, could you describe The fall of every season in a few words?

Marius: Hi there! I would describe The Fall Of Every Season as a melancholic one-man metal band, started back in 2004. The sound is heavily influenced by melodic death-doom metal, but also post rock and acoustic music, balancing heaviness and fragility. The first album, ‘From Below’, was released in 2007, and now I’m putting out ‘Amends’, taking the band into a slightly more dynamic and progressive sound, yet still retaining a constantly melancholic atmosphere


A one-man band with such complex compositions, wow! Does it come easy to you to control your creations and take care of every detail? Why did you keep this project as a one man band?

I do spend quite some time on the details of the band’s soundscape. The music is often very multi-layered, but it’s still not music that’s very technically demanding, so my focus naturally lies on creating atmosphere and good melodies, instead of trying to show off. In that regard I probably spend more time and thought on composing the music than I do actually recording it. The Fall Of Every Season has become very personal for me. It would be wrong if anyone else were to be involved in the creative process. The music is me. And as I’ve found a way to express myself musically without having to be a technical virtuoso, I can record everything by myself. I don’t need anybody else to do what I do with this project.


When you perform live, do you however make use of other people for the band?

I have played live, in an acoustic setting, with one additional guitarist. I probably could have played the acoustic stuff alone too, but it’s an undeniable fact that for the full experience of The Fall Of Every Season I will always have to depend on other people with me when I play live.  I’m actually planning on doing some gigs with a full band of “live only” members for the first time now. They will have no creative input and only play the stuff they’re told to play. I’ll be strict. Haha.

‘Amends’ is your second record and it is very different from the traditional album with only 5 songs, out of which only one is not over 10 minutes long. Why did you choose to make it like this? Are you trying to write stories with your tracks?

It’s the way I’ve always made music. I’m done with a song when I feel like it’s done, and I rarely follow traditional song structures. Atmosphere and contrasts control the dynamics and lengths of the songs.  You can definitely say that they are stories. Or parts of a bigger story, rather. I think of the music in a cinematic way. When one song ends and the other one begins isn’t important. It’s the experience of the album as a whole that’s important to me. This is also partially inspired by older progressive rock albums, as they were often ever-flowing concepts., without the barriers of a verse-chorus approach.


What makes ‘Amends’ special? What is the concept behind it?

‘Amends’ is thematically dealing with remorse, and the wish to make hurtful past actions go away. I think it’s a theme most people can identify with, but on this album the wish to make amends is part of a tragic story where it’s too late. It portrays the two characters on each side of this situation.


6 years have passed from your first record, ‘From Below’. Why did you need this long break?

The long time it has taken has quite a few explanations. I actually made the music itself years ago, but I spent a lot of time on the vocals. I spent ages on writing vocal lines that would actually add something to the music, and I was also very picky about them when I recorded it. As a result, I think the vocals on ‘Amends’ are significantly better than on ‘From Below’. Me and the designer of the artwork, Robert Høyem, also spent a lot of time on deciding on a good concept for artwork. And I also spent quite some time on finding a slightly bigger label that would be willing to release the album. ‘Amends’ also went through additional production work at Soundlodge Studios recently. Many years have passed, but it has definitely been worth it.


When did your passion from music begin and when did you learn to master all these instruments?

I think I’ve always been extremely interested in music. I can remember that from when I was a small child. But my serious wish to actually become a musician didn’t start until I began listening to truly good music, not just the popular stuff one would hear on the radio. I had an old crappy acoustic guitar that I played cover versions on, from when I was around 15. That sparked my creative career, as I quickly started making stuff. I never had any formal training or music lessons, but through my “do it yourself” approach, I’ve learned the basics I need on each instrument to make the music I want to myself. Expressing a melancholic atmosphere doesn’t have to be complicated.


Do you have a favourite track from the new record or one that speaks to you more than the others?

Well, I do see the album more as a whole than as separate tracks. A song that works very well as a separate entity, though, is ‘Aurelia’. I didn’t really know it while making it, but ‘Aurelia’ seems to almost have a bit of a “hit” potential. And I mean that in a good sense. It’s probably more accessible than the rest of the album, yet it’s still genuine and retains all the basic ingredients of The Fall Of Every Season. It’s also very bitter-sweet lyrically, matching its sound.


How is your music viewed on in your country, Norway, a place popular for the promotion of aggressive genres like black metal?

My biggest fan base definitely isn’t in Norway. It’s fairly obscure here. Metal fans might think it’s not aggressive enough, and general listeners naturally find it too heavy. I don’t think many people know about the band, though, but that could possibly change now with the release of ‘Amends’ and some more press coverage within the country. I kind of operate on the side of the metal community here, as the individualist I am. Most Norwegian extreme metal bands rely on a sound that’s very, very far from mine.

The artwork of your new record looks very interesting! What is the idea behind it?

I’m glad you think so! Some people seem to find it crazy that it’s the artwork of a death-doom album, but I personally think it fits the music perfectly. It’s epic, dramatic and filled with details. I, and the designer, wanted artwork that wasn’t typical for the genre. In other words: artwork that would get noticed. It’s actually a collection of literally interpreted metaphors from the lyrics. It symbolically tells the story from the album.


Thank you so much for your time! Any last words for our readers?

Thank you very much for a great interview, and I would also like to thank the readers of this. If you’re not familiar with the band, and the music sounded like something you would be interested in, be sure to check out the new album ‘Amends’ that is being released both physically and digitally on the 22nd of February.

The Fall of Every Season – Aurelia (click to listen)