Tears Laid in Earth

Tears Laid in Earth is a near perfect atmospheric doom album. Let me clarify this by saying that, certainly, the guitar melodies are structured in such a way as to produce a melancholic, haunting, frosty atmosphere which is quite strong on its own, but much more than being the icing on the cake, vocalist/probable angelic goddess Kari Rueslatten brings the album from very good to intensely immersive, transcendent, almost spiritual at times. She's on my short list of best female vocalists (metal OR nonmetal) for sure, hanging out with such vocal royalty as Floor Jansen and Anneke van Giersbergen. Among these, I'm not sure i could pick a definite favorite, but there's definitely a possibility that Rueslatten is simply my favorite female vocalist of all time, and definitely in my top 10 vocalists period - any gender, any genre. To call her performance here breathtaking, enchanting, and utterly mesmerizing is rather an understatement, I think.

From the dulcet opening notes of "Why So Lonely" ("Vandring" being more of an intro track that's not terribly representative of the album) it's clear there's something special going on here. The melancholic riffs provide a sublime counterpoint to Rueslatten's comforting, tranquil singing, inviting any listener who's simply too weary of the world to come rest under her care, although it's unclear whether this rest is simply a few hours of sleep, or something more permanent, which is hinted at with lines like "Will you be mine till the end of time?" It also reinforces the point that Rueslatten is absolutely a goddess, both in her divine vocal abilities and in the lyrical role she plays throughout the album.

This sort of counterpoint technique is used in various ways as the album progresses, the most obvious one being the shift between heavier guitars - i.e. actual doom metal - and clean guitar passages which are typically more introspective, or simply acknowledge the rise and fall of emotion that often comes to those who are rather depressed; frustration and hatred slowly fading into someone who has given up; hopelessness, a desire to have rest, often eternal rest; and then back to frustration, and so on. "Death-Hymn" is a good example of how this theme is used throughout the album, beginning with the hopelessness and desire to leave this world, briefly countered by frustration and wonder at how things could possibly have gotten this bad ("I never thought I would feel this way, I never thought I would go this far"), and then back to pure despair, more sure this time ("Feel your mighty darkness, prepare your soul for the journey through the woods of evil, waning in the end to the paths of hopelessness, and your life will end"). A fairly diverse range of emotions are explored over the course of Tears Laid in Earth, but most of them are fairly negative; I hear melancholy, frustration, loss, suffering, longing, resignation, fear, and occasionally even deeper, more primal feelings that I have trouble putting into words, such as those expressed in "Oceana" - some combination of awe, desire, utter despair, curiosity - at times it certainly seems that the specific amalgamation of feelings transcends anything that could be truly described, or perhaps even truly understood, by the human brain - a glimpse into something deeper, larger, and greater than we have the capacity to reach.

To slightly reiterate, tunes like "Why So Lonely," "Death-Hymn," and the very strange, uncannily haunting "In Mist Shrouded" are top-notch stuff, but none of them hold a candle to "Oceana." I would most definitely call it The 3rd and the Mortal's greatest song, although "Silently I Surrender" from the SorrowEP comes close. At nearly 19 minutes, you already know it's going to be an absolute monster of a closer - or exceptionally boring, I suppose ("The Ivory Gate of Dreams," I'm looking at you) - and "Oceana" lives up to those monstrous expectations, and then some. I'd likely put it on my top 10 songs of any genre of all time (yes, I'm serious). The song opens with a haunting nonverbal vocal melody from Rueslatten over some of the creepiest clean guitar riffs I've ever heard in my life. It's not that it's immediately piss-your-pants terrifying, though - it builds up slowly, carefully, masterfully, as though the listener is traveling ever deeper through the depths of some vast unknown realm, perhaps one from which no one else has ever returned. Perhaps a vast, deadly ocean. It does live up to its name in sounding somewhat oceanic, although that descriptor certainly doesn't encompass the entire range of feelings captured in "Oceana." No one word could do it justice, and frankly I doubt any ten words could. There's a strong sense of surreality, especially once you hit the 4-5 minute mark; the use of strange, unearthly guitar effects placed with perfect precision is largely responsible for the feeling, but the riffs and vocal lines are always in perfect harmony in whatever atmosphere is being created at a given point.

There's way too much going on here over the 19 minute duration for me to describe every feeling, mood, or stylistic change in detail, but the way it makes me feel...it's hard to describe, but it has a way of transcending mere feelings to the point that it utterly engulfs me; at some point, I'm no longer listening to the song, I'm experiencing it. Very few other songs have ever made me feel this way, at least to anywhere near this extent - a couple of songs from Holocaust, Psychotic Waltz come to mind; Angantyr's "Blod for Blod, Liv for Liv" and some tracks from the nonmetal Scott Walker album "The Drift" - but ultimately this is a category reserved for the very, very best songs in existence - it's shared with maybe 20 others, maximum. It's like I'm seeing something that wasn't there before - or if it was, I was unable to see it without this song as a guide. A lot of my most creative, insightful, and even spiritual moments have occurred while listening to this or other songs on that list, and I simply can't describe it any better than that, so I'll cut myself short before I ramble on into tl;dr territory, if I haven't done so already.

In summary, while there are a few places where the quality of the atmosphere dips slightly (mainly the pair of 2-minute tracks), for at least 80% of the album we're given a simply superb atmosphere, not to mention the unparalleled quality of "Oceana." If you like atmospheric doom, metal with female vocals, great music, really cool things, or ya know, not having shite taste, this album is definitely for you. Kari Rueslatten on this album surpasses any other female vocalist I can think of on any other album I've heard; she is supernaturally divine, a goddess, and Kari I love you will you marry me?! Okay, maybe got a little carried away there. Anyway, this album is amazing. Listen to this album.

The main problem with Gothic/atmospheric/etc metal is how it often substitutes surface aesthetics for quality songwriting. So many times have I been lured in by the promise of ambitious music, unique atmospheres, or mysterious pictures of forests and castles on album covers, only to be disappointed by music which, beneath all the faux melodrama, is just boring mid-paced rock dressed up as something special. The 3rd and The Mortal's full length debut is one of the handful of releases in this category which avoids these pitfalls, delivering a magical listening experience of lush, ethereal folk/doom metal that any listener with even a passing interest in those styles should hear.

The songs are carefully structured and intricate, each containing a multitude of different riffs and passages. They tend to cycle back and forth between clean electric guitar sections featuring vocals, and instrumental breaks with heavier riffs and drumming. Tempo is primarily slow to mid tempo grooves, with warm electric guitar tones playing somber minor key melodies, and occasional fast passages. Keyboards are used as a background instrument, and the bass guitar is a distinct presence, playing its own melodies and even taking the lead in a few songs. Soaring above it all is the ethereal sound of Kari Rueslatten, whose voice is clearly the main attraction of the band. Not to detract from the rest of the members' immense talent, but Rueslatten is one of those rare vocalists in metal with a truly world class voice who would sound great in any band or genre (she did later go on to folk metal project Storm and her own solo pop career).

If you're looking for a quick distillation of what the band is all about, the first full song "Why So Lonely" is an adequate summary. Featuring unique high, floating lead guitar harmonies, the song makes excellent use of a third guitarist for an intricately woven guitar tapestry, It alternates between airy vocal-driven passages and slightly heavier instrumental breaks where the vocals stop and the drums and rhythm guitar kick in - a tactic the band returns to often throughout the album.

Other highlights include the excellent bass driven "Autopoema", and "Death Hymn" which is probably the heaviest song on the album, with double bass drumming and some Candlemass-sounding riffs. Despite having one of the most generic titles ever, "Song" is anything but - its sorrowful atmosphere gradually builds into a lush yet quietly intense conclusion. The enormous, 18 minute long closer "Oceana" ends this on an atmospheric note and despite its length, does not get bogged down in repetition or an excess of unrelated ideas.

The excellent drumming of Rune Hoemsnes also deserves mention. Throughout the album, his dynamics, coordination and overall creativity are above and beyond - the unique little offbeat cymbal fills at the end of riffs, the use of ghost notes on the snare etc - he clearly has a strong background in jazz or progressive rock drumming and is much more versatile than most metal drummers.

I should also mention that at although the disc is well over an hour long, there is not a single moment of filler to be found. It's an incredibly versatile album that makes great background music, but is also strong enough to hold one's attention through sustained active listening. This album was one of the first of the female fronted atmospheric metal variety, and it's a shame that nothing to come after in this style had the same level of depth and maturity as this did. Even if you're not a fan of The Gathering, Nightwish etc (I'm not), this is worth at least a download's chance.

Anyone who really enjoys "Tears Laid In Earth" should also check out the band's debut EP "Sorrow", it's slightly heavier and less developed but still satisfying. Although the band would eventually move further into atmospheric rock territory with new vocalist Anne Marie Edvardsen, none of their several followup albums would ever match the beauty and quiet power of this stunning full length debut.

“Leave your present time
Leave your flesh
Leave your life”

One of my favourite albums, Tears Laid in Earth is a beautiful atmospheric doom metal album. Released in 1994, it was one of the first metal albums to feature female vocals, outside of the standard 80′s heavy metal style. As such this album pre-dates the large female fronted metal scene which came out in its wake. However, despite being a huge influence on more famous bands such as Nightwish and The Gathering, they haven’t quite gotten as much recognition as they deserve.

While it is predominantly a doom metal album, they certainly aren’t a band heavily influenced by Black Sabbath, they don’t go in for the straight forward heavy riff approach. Despite the band having three guitarists, they tend to focus more on creating soundscapes and atmosphere. While there are heavier riffs throughout the album they aren’t there to be crushing or pounding, they serve to add an air of melancholy to the music. There are also excellent lead pieces throughout the album, especially on Trial of Past, as well as clean guitar parts with delay effects giving a soundscapey effect. It’s also incredibly melodic, with all the riffs and lead parts being very memorable. The drumming needs mention as well, it;’s very energetic and engaging, adding to the heavier parts. The vocalist Kari Rueslåtten has a soft beautiful voice, with a folk-y quality to it, especially in the intro song, with her singing in her native Norwegian. Her voices matches the album perfectly, her folky style fitting in well with the mellow atmosphere, her voice is very dreamy, adding to the very ethereal atmosphere created on this album. She also plays synths on Shaman and Song, which adds another dimension to the music, especially Song, which is one of the more beautiful tracks on the album, especially with the guitar solo at the end. The interplay of all these elements makes for a very interesting atmosphere, its hard to describe other than sounding mysterious and ethereal. It’s melancholic, like being lost in a dark, misty forest in the night time, but entirely magical at the same time. It has an incredibly dreamy sound to it, while being beautifully dark.

Even despite its age, and the wealth of albums which have since been influenced by it, the music here still sounds incredible fresh and unique, no one has made anything quite like it since. Even at over an hour long it remains constantly interesting, every single idea is well thought out, especially in the closer, the epic 18 minute “Oceana”, which is incredibly beautiful. There’s no boring riff, superfluous filler, or anything at all which detracts from the incredible music throughout. They really captured some special magic while recording this, and it’s one of the best atmospheric metal albums ever made. It’s incredibly hard to describe in terms of the parts that make it up, it’s more than the sum of its parts and simply a completely beautiful, experimental and unique whole.

Originally written for swirlsofnoise.com

Tears Laid in Earth begins and ends with the sound of a gentle voice, articulating smoothly in the melodic Norwegian language. This calm and sweet voice is one of the factors that not only helped establish the sound of modern doom metal bands, but also contributed to the development of an entirely new style of music - gothic metal. Now, while The 3rd and the Mortal was one of three of the biggest inspirations for female-fronted gothic metal bands (along with Theatre of Tragedy and The Gathering), the band never really played gothic metal at all. The 3rd and the Mortal's earliest works (which also includes their first EP, Sorrow) consists of what I could call 'melodic doom metal' - chilled out doom metal accompanied by the soothing voice of Kari Rueslåtten. With a heavy emphasis on atmosphere, it is definitely understandable how the band is such an inspiration to bands of, not only doom and gothic metal, but all atmospheric styles of metal performed today.

The best way to describe this album is to say that it sounds the way a forest looks on a rainy autumn morning. The guitar melodies glide along lazily, consistently maintaining a firm foundation in metal, yet never trying to achieve crushing heaviness or extreme slowness. These melodies are purely melancholic, projecting a kind of ethereal and subtle sadness that I have only recognized in the works of Agalloch and Estatic Fear. Although those bands execute this mood with more complex ensembles and influences drawn from folk and classical music, The 3rd and the Mortal accomplishes to create this dreariness simply through the melodies of the guitars and vocals. Kari's sweet mezzo-soprano singing never dominates the music, always remaining just another instrument in the mix. Most of the time, her voice is present during breakdowns of clean guitars or keyboard passages. Yet, there are also times when she soars atop of the heavier sections of the album, namely on 'Death Hymn', 'In Mist Shrouded', and the intense climax of 'Oceana'.

A notable characteristic of The 3rd and the Mortal was the band's exploration into various genres of music, their later albums being considerably eclectic and avant-garde. Although this album mostly remains within the realms of metal, the band experiments with folk melodies, ambient textures and darkwave elements at various times throughout the album, with 'Shaman' and 'Song' being straight-forward ambient tracks. These mysterious interludes tie in with the heavier tracks to give the album unity, allowing it to flow together to form a whole. There are also some jazz-inspired drumming techniques and psychedelic guitar effects to finalize the album's uniqueness, making it entirely inimitable. The lyrics narrate tales of epic journeys, nature, and yearning, which suit the music incredibly well. The artwork provides serene autumnal imagery, which I was able to envision throughout the duration of the album.

The only flaws I can find in Tears Laid in Earth are a couple of filler tracks. 'Vandring' is an a capella intro and 'Lengsel' is Kari singing over some simple bass notes. Although the singing on these brief interludes sounds very nice, there is nothing else going on to keep me interested. Perhaps had they had been integrated into the riffs or breakdowns of the other songs, they would have served more purpose for the album. However, these minor issues have little impact on the rest of the album. Overall, this is one of my favorite doom metal albums of all time, competing with the excellence of Tragedies by Funeral, Brave Murder Day by Katatonia, and The Silent Enigma by Anathema. However, this is not to say that this album should be compared to those, for it sounds entirely different. The album could appeal to those who enjoy music ranging from Theatre of Tragedy and My Dying Bride to Ulver and Agalloch. However, the only two albums that can truly compare to this are Mercury by Madder Mortem and Mandylion by The Gathering.

I never used to be a big fan of experimental music, especially that of the doom metal genre. I had borrowed this album from a friend in an attempt to discover some new music and broaden my horizon. Since then I have never looked back.

This album is a beautiful display of elegance and class, with very melodic atmospheres and soothing soundscapes mixed with heavy grooves. Although sometimes the songs tend to get tedious, such as the 18:46 long epic closer track (which could of easily been under 12 at best), the music stays true to it’s dense sound of sophisticated doom metal. Overall, the keyboards and female voice play the dominate role on the album, backed by crushing guitar riffs and bass grooves that put the metal into this near Neoclassical sounding style of the melody.

Everything about this album has an enticing feeling of calm serenity, which is not bad as long as it’s not overdone, which tends to happen, rarely. Each song has great flow, keeping the album connected in a solid foundation of averagely produced, brilliant musicianship. Although I wouldn’t recommend this or this band to people with short attention spans, love for truly heavy metal, or a love for metal’s abrasive style of song writing, I do recommend this and the band to people looking to broaden their horizons on experimental atmospheric, music. For fans of Virgin Black, Lethian Dreams, Elend, Die Verbannten Kinder Evas, and (new) Theatre Of Tragedy.