The Fall Of Every Season – Amends

Marius Strand, Norwegian multi-instrumentalist, returns to the scene five years after the excellent debut entitled From Below, confirming the good impressions aroused at that juncture. The sound proposed by the musician from Trondheim has its roots in doom while detaching itself from it, however, frequently in the excellently devised passages that call to mind the latest works of Katatonia and, above all, Opeth, not only because of a certain vocal similarity with Mikael Åkerfeldt. Amends denotes a further progress at the compositional level by showing an appreciable harmony between the different souls present within it, without on that account sacrificing the emotional impact of the songs at the expense of a few too many experiments, as is often the case when looking at all costs for the element of discontinuity to be included in the songwriting; knowing full well the risks and downsides that often mar the work of one-man bands, The Fall Of Every Season confirms itself as a well-balanced project in every aspect of its execution, not skimping on those ample flashes of melancholy that are the backbone of the proposed genre. The work consists of four long tracks plus a short instrumental interlude (A Portrayal) that, in a way, serves as a watershed within the album, reserving the more doom-oriented passages for the initial pairing Sole Passenger and The Mammoth while Aurelia and Come Waves, thanks to the rarefied atmospheres that distinguish them, are approachable to the masterful pairing of Swedish bands mentioned in the opening. It is difficult to find weak points in Marius Strand’s proposal, a clear sign that a lustre has not passed in vain, not only because of the evident progress in the use of clean vocals; Amends is a work of high quality capable of agreeing even with the usual users of genres far from doom. 

2013 – Grau Records