TEARS LAID IN EARTH

The 3rd and the Mortal play an emotional and slow type of music that consistently seems to try to reach a climax that is nonexistent. Each song features beautiful female vocals that are pseudo-operatic, and the atmosphere that their music creates is very distinct, but the entire album is similar, and the album doesn't carry any strong melody. To say that they are metal I would say is a stretch, considering that they play a slow-marching type of semi- abrasive doom alternative rock with a gothic tinge, imagine Cradle of Filth or Dimmu Borgir hiring a female to sing a ballad, 11 times in a row.. For what it is it's great, but what it is is nothing more than an emotional and gothic approach to doomy sounds. It's hard to sit and listen through the whole thing because it doesn't go anywhere and it gets old very quick. If you find this to be an intriguing listen for you personally, dive in and see what you think, but if it doesn't, just leave it alone.

The first studio album by The 3rd and the Mortal is more atmospheric metal with doom influences than real prog metal. It alternates really quiet songs ("Vandring", "Lengsel"), metal instrumentals ("Trial of past") and emotional doomy songs ("Why so lonely" and "Atupoema" are on my list of favorites). Overall, an excellent addition to any music collection (prog or not prog). Rating: 85/100

Certainly a discovery to be treasured from Norway's fertile landscape of experimental musical exploration, The Third And The Mortal followed up a debut EP with this full- length studio recording in the form of Tears Laid In Earth, which sees the group functioning in atmospheric progressive rock with occasional metal trimmings, exotically adorned in Norwegian folk traditions and dreamscape overflow. If one would request a comparison, perhaps this music can best be described as a combination of Dead Can Dance's new-age ambience, Pink Floyd's progressive approach to construction and traditional Scandinavian metal touches. This music flows along in wondrous motion, with a strong emphasis on mood enhancement through ambient elements and a masterful implementation of rise-and-fall dynamics. The work in its entirety washes over the listener in waves of emotional highs and lows while sustaining a tremendous level of consistency through its lengthy running time in regards to sonic bliss, captivating song construction and spirit-stirring movements.

It is the voice of Kari Rueslatten that really pulls the listener into this music and allows one to drift away in sweeping motions of sound. Her's is a voice/singing style that is rich with beauty and passion, soaring and gliding over vast soundscapes, and providing this already magical music with a deeper emotional component. From the opening a-capella track "Vandring", Kari's wonderful singing captivates the listener. When she sings in her native Norwegian, she adds an exotic flair to the music further deepening the dream- like wonderment of this work. As spectacular as the singing is, it does not overshadow the talent and musical vision of the instrumentalists, who each provide the sound with a unique element contributing to each musical phase. The instrumental tracks, and the lengthy instrumental sections within the other songs, are equally as compelling as Kari's singing. More often, the music operates in tranquil ambience portraying a longing essence and affection towards the nature of human emotion in poetic movement, shifting to and from metallic passages and rock-based progressive exercises. There are moments on this disc where the music reaches an otherworldly degree of expression that leaves the listener enveloped in its presence.

"I went to the Moon When she was shining as bright as I have ever seen her May I borrow some of The Light that you possess"

It is a work such as this that possesses the capacity to astound a music listener. It is music that fully embraces and explores the limitless expression and possibilities within an art form. At no time during this disc does the music fall into a system of formula or become crippled by meaningless movements. The band probes the endless realms of artistic potential through a powerful, beautiful display of musical vision and imagination. The material here is wonderfully composed and reaches the elusive plateau of timelessness simply for its sheer ingenuity and sincerity. Each aspect of this work, from the lyrics to the booklet imagery to the individual components of sound towards the greater whole of the presentation, is of a high level of maturity and depth. This is deeply moving music for those who seek a journey of a spiritual/emotional/mental form within the presentation of music. Its quietly contemplative moments are plentiful, which sets the listener at a comforting ease of awareness, while the rises in intensity and transitions into more involved passages alerts one to the reflection of life's urgent transience. The atmospheric guitar work is of a picturesque quality, conjuring images of flowing streams, forests and seashores on clear Autumn mornings. A terrific experience.

Tears Laid In Earth is a sensational work of music that is abundant with mystery, passion, beauty and depth. For those who appreciate music that is adventurous and far-reaching, this is a disc that simply must be heard. Though The Third And The Mortal have gradually moved away from this exact style, they are an outfit who collectively have a gift for writing and delivering music of imagination and substance. There is much to be discovered within this evocative music, inspiring return visits to the album during those moments of soul-searching and desire for musical stimulation. This particular effort remains to my mind as their most fascinating and it is highly recommended for any who have been interested in hearing their work.

this album is slow, depressing, boring, heavy, not prog at all... i love it...

The 3rd and the mortal along with The Gathering and Theatre Of Tragedy defined atmospheric doom/death metal for the 90's... the difference was that this band achieved to release the best release of this genre with the first attempt and set its standards very early...

It is a known fact that North-Central European groups are the ony ones that can reproduce this kind of mood and that's obviously due to the weather...what ever the reason is, Tears Laid in Earth with its slow doom riffs, its melodic synths, and the contradict ethereal female vocals grabs your heart and travels it to the frozen north, in the woods...

This isn't an album to be played whenever... it is grim, sad, pessimistic, it needs time but will reward you, that's for sure...

This is the debut from the 3rd & the Mortal, and the band wastes no time establishing themselves as the poster-children for morbidly depressing and fashionably fatalistic goth/ folk/metal posing. Every time I hear these guys I’m reminded of the Gathering, and with a little bit of Stream of Passion thrown in, but with nowhere near the same sense of purpose or vision.

This is that dreary brand of pseudo-metal with goth trappings that seems so peculiar to Scandinavian bands of the nineties. Arjen Anthony Lucassen uses this type of sound as an accent to his ambitious Ayreon epics; Stream of Passion add the ‘passion’ part and better vocals; the Gathering can claim deeper and more varied lyrical explorations in their music; and Nightwish adds a decidedly commercial focus to their music. The Mortal have none of those advantages – they’re just pretty much moody and depressing. There is very little variation to the songs on this album, or really anything else I’ve heard from them.

There are a couple of interesting tracks, “Why So Lonely” being the most notable. At least on this one there is a sense of tempo and focus, and the feeling of a complete and cohesive thought. And “Atupoe'ma” has some appeal for the beautiful delivery of feminine Norwegian vocals which are very captivating at least. But that’s about it. The three bonus tracks are a bit more varied than the rest of the album, with the epic-length “Oceana” being the most obvious deviation. But even on that one there are lengthy sections of directionless posturing with little variation or ability to hold one’s attention. I find this a very difficult album to listen to in a single setting, as there is so little variation that it becomes tedious pretty quickly.

A couple tracks seem to be more about building some mildly associative sound around the song’s title, “Death-Hymm” and “Shaman” in particular. There may be some deep hidden meaning, but I can’t focus on either of them long enough to draw it out.

This is another case of sun-deprived, snow-bound depressing music that shouldn’t be made readily available to anyone with emotional problems. It’s probably good for stoking a miserable mood on a cold winter day, but nothing else really. I can think of better things to listen to on those kinds of days that are uplifting, and that seems like a better use of my time. Definitely for fans of the band and collectors only. Two stars.

peace

I have always regarded this album as one of the best albums ever released by a Norwegian band. Until I picked this album up again, that is.............. This album, and the Tragedies album by Funeral (released on my record label, I must confess), very much started the whole female vox goth/doom metal scene. So much that the guys and the girl in the horrible Nightwish left their chess boards and took up instruments instead. The same goes for countless other acts. When Nightwish cashed in, the originators lost out and became a forgotten band. This due to some commercial issues with the band and their record label.

The music, then........... I have been listening to this records perhaps hundreds of time. Even when this band went public and called me a headcase (which did hurt !!......... although what they said back in 1995 is true), I was still listening to this album. Me and The 3rd And The Mortal is not on speaking terms and will never ever be on speaking terms, I guess. So to preserve my dignity; here comes a hatchet job and a return of the compliments paid by the band.

Well, not really......... I got the album the day it was released and back then; I thought it was the second coming of Jesus Christ. But almost 16 years later, I can see that this album has some flaws. Mainly the vocals being far too much in the front of the mix. Kari Rueslaatten have a nice voice, but it is simply to overpowering on this album. The rest of the instruments and the sound is somewhere between a chamber orchestra, a jazz-band, a rock band and a doom metal band. This album includes a lot of influences. But the vocals are strangling these elements. The album sounds a bit dated and under-produced today. It sounds like a low-budget recording (which in fact it is).

The songs....... I really like them. Maybe because I have been listening too much to this album. I think they were innovative back in 1993. I still think they are good. I think the songs is the proto-type of what we can call Norwegian melancholia. The cover art really describe this album very well. Not much joy here, although it is not as dark as the other masterpiece from that era; Funeral's Tragedies. I really like this album a lot and it is probably on my desert islands discs list. Therefore; I disagree with everyone else and gives it four points.

On a final note: I think it is a great, great shame that this band never really made it like Dimmu Borgir and Satyricon did. In the history of the Norwegian metal scene; this is the greatest injustice of them all.

This is the first full length album from Norway's THE 3RD AND THE MORTAL. And what an influencial album it is. Many, many bands point to this group and in particular this album released in 1994 as an inspiration. It's gloomy, dark and often slow moving while being filled with atmosphere. Gothic with female vocals. And I agree with Torodd that bands like NIGHTWISH could only dream about being this good.

"Vandring" is basically Kari singing solo throughout in a reserved manner. A short intro track. "Why So Lonely" sounds great in contrast to the intro track because it kicks in with drums and guitar that create a good heavy sound. It settles with vocals before a minute as contrasts continue. Excellent tune. "Atupoema" sounds really good.This is dark and laid back with vocals. I like the bass here.The guitars grind away after 4 minutes to end it. "Death Hymn" is a top three tune for me. An intense intro gives way to a calm around a minute that sounds so good.Vocals 1 1/2 minutes in are relaxed.The contrasts between the laid back and heavier passages continue.The vocal melodies and male spoken words 7 minutes in are cool. "Shaman" is my second favourite song on here.The drums and vocal melodies sound great to start out.The guitar replaces the vocals but she's back again at 1 1/2 minutes. How good is this ! "Trial Of Past" opens with gentle guitar but it turns heavy quickly. Nice. It's even heavier before 3 minutes.This is moving for me as well.

"Lengsel" is bass and reserved vocals only. A short piece. "Salva Me" kicks in hard rather quickly then it settles after 1 1/2 minutes and the vocals join in. "Song" opens with drums and atmosphere. Fragile vocals before 3 minutes as it calms right down. It picks up before 5 minutes as the vocals continue but here they are more passionate. "In Mist Shrouded" sounds amazing 1 1/2 minutes in then the vocals return. It's heavier after 2 1/2 minutes. Killer stuff as the tempo continues to shift. "Oceana" is the over 18 minute closer. My favourite. It opens with the sounds of waves before atmosphere takes over.Vocal melodies before 1 1/2 minutes as drums, bass and guitar join in. It's building. Some riffing before 3 minutes then it settles back as vocals continue. I like when the vocals stop after 5 1/2 minutes and this guitar comes in tastefully.Vocals are back then we get intricate guitar only after 7 minutes before the heaviness kicks in. Hell yeah ! It settles back then the vocals return before 9 1/2 minutes. It's heavy again a minute later then a spacey calm arrives. Almost spoken vocals come and go. It's heavy again 13 1/2 minutes in. Nice. And this continues with no vocals until 16 1/2 minutes in when the waves return and take over.Vocal expressions end it.

I can't get over that last song, but hey the whole album is incredible and a solid 4 star rating.