The Third And The Mortal
PAINTING ON GLASS
VOICES OF WONDER 1994
One of gothic metal’s first frontwomen, Kari Rueslåtten’s winsome, haunting voice helped place this beguiling Norwegian sextet in the vanguard of progressive atmospheric doom with their 1994 debut, Tears
Laid In Earth. We cried our eyes out when Kari left just months after its release, but on this horizon-exploding, 1995 follow-up, Ann-Mari Edvardsen’s extraordinary range and assertive independence bolstered the band’s development towards more avant-garde, spontaneous, dreamlike material – a radiant flow of ambient psych jazz doom scattered with 70s synths, trombones, church organ and didgeridoo. But within the experimental madness there were still striking chords of aching, melancholic beauty.