Recently, I had the chance to chat to Marius Strand who is the sole member of death/doom band The Fall Of Every Season.
Thank you for sitting down with me today, and thank you for agreeing to have this interview. A lot of things have been happening lately including the release of your sophomore album “Amends” earlier this year.
1. “Amends” is your second full-length record, was the process any different to the debut (From Below)?
My pleasure! Yes, the process was quite different. This is evident in the long time passing between the two albums. First of all I spent a longer time recording it. That is, the foundational aspects of the music were finished quite early, but additional layering took a while. I also spent much more time on the vocals on Amends, making sure that they enriched the music instead of just being added as an afterthought. I then started the process of contacting labels, as I wanted backing from a slightly bigger one than the one I was previously signed to. As a result Amends seems to be reaching out to a lot more people. The final production was also eventually polished at Soundlodge Studios, including the addition of acoustic drums by Jörg Uken, based on my electronically played original drum tracks.
2. Being a one-man project, is the music you make limited by anything or is it better to do things on your own, making sure every little detail is how and where you want it?
One could definitely say that the music is limited when it comes to technical proficiency, as I’m primarily a guitarist and far from skilled in the other instruments I play, but that’s not an issue when it comes to my vision of this project. I’m operating within a genre/concept where atmosphere is more important than showing off technically. The advantage is much more important, and that is having complete control of every aspect of the music, making The Fall Of Every Season personal, with a strong sense of identity and unity, at least in my own opinion.
3. What are your views on how people “obtain” their music? Are you in support of a free system, or would you prefer that everything is paid for, from the album, to the merchandise, to even the drinks at shows following the conventional business model – i.e. people should pay for the music?
I’ve always enjoyed buying albums in CD/vinyl format myself, and I make concept albums where artwork is also an important element in the artistic expression, but the fact that music is so easily obtainable on the Internet has significant advantages. I totally understand why people download music. My music, specifically, wouldn’t have reached nearly as many people as it has if it weren’t for the Internet. It would be stupid to think otherwise. Ideally obtaining it for free is a sort of quality control, where some buy it if they like it. At least I hope people do.
4. Have you got anything else coming up soon, working on a new album or EP? If so any working titles?
No working titles so far, but I am indeed working on new material and have been for a while, actually. I’m thinking it could possibly end up being a one-track EP, one long piece of music. It’s something that would fit The Fall Of Every Season well. On a different note I’m also working on putting together a live band, for touring purposes. Hopefully that will eventually result in some gigs.
5. Your 2013 (this year) record was and is received quite well, does that create an urge to keep going, or make your resolve to your project mean that much more?
All the amazing feedback, from both fans and reviewers, is a huge inspiration to keep going. It’s a great feeling and it means a lot. I’ve never been so emotionally invested in The Fall Of Every Season as I am at this point. The project has all my creative attention and people will surely be hearing the effects of that in the near future.