Artist description Dark and gothic in nature, My Eternal Thief is above all about love and beauty; sorrow and loneliness; devotion and redemption.

Music Style Gothic

Musical Influences Shostakovich, Debussy, Swans, Joy Division, Deathless, Curve, ...

Similar Artists hmmm...a friend once said

Artist History Solo project "formed" during 90's. First actual recording started late 1997. In 2002, changed name from Eternia to My Eternal Thief to better reflect the current state of mind - also there's too many Eternias.

Group Members David Quinn

Instruments voc, gtr, bass, bass clarinet, piano, programming, etc

Albums From Dungeon's Luxury of Doubt; Saturation EP

Press Reviews [Review by Steph, StarVox http://www.starvox.net] I'm swaying in front of my computer right now with a smile on my face. Eternia is in my CD player and the volume is turned up loud. Eternia hails from Australia by way of the UK, and musician/vocalist David Quinn has assured me that he will not be offended if I compare him to Joy Division. Eternia, like Joy Division, create music that is deep, dark and beautiful, and David vocals borrow much from the dour Mancunian legend who lives still in musical mythology. Where Curtis was stark, however, Quinn is richly emotive. The instrumentation is layered and strongly melodic, a throwback to the heyday of 80's dark pop music. Guitar chords churn in and out of a sea of drum beats and sound effects, each rising and falling in accord with the other. Quinn has an unerring sense of when to turn up the intensity, and when to just let it drop away. From Dungeon's Luxury of Doubt is a truly beautiful album. "Rain" is likely to garner Quinn the most overt comparisons to Joy Division, as his vocals on this track are eerily reminiscent of Ian Curtis. Over a steady computer-driven beat, Quinn asks "Will you ever love me?" while a lovely, mournful guitar line spirals in the background. "Shattered" finds Quinn moving away from the basso profundo vocal style. This is a mid-tempo number that rises and swells unexpectedly and thrillingly. "Eternal" is almost poppy, and certainly one of the tracks on this disc most likely to lure you unto a dancefloor. The steadily churning guitar line is almost trance-like, and then it spreads out, turns almost psychelic, and you feel that you could follow this music anywhere. "Why I Hate Children" varies sparse, delicate moments with heacy grinding guitars and melancholy vocals, a more overtly goth oeuvre than the others. "Adore" bursts into life with fuzzy layers of guitars from which the vocals gradually emerge. Just when the song threatens to become monochromatic, finely tuned harmonies kick in and hover gently in the background. "Electric" is a low droning track that slinks along, all stealth and feedback. You won't be expecting the uplifting wash of sound that carries you away at the end. This is one of those songs that you pray to hear in a club so that you can feel like you're dancing forever. "Drown" rises slowly, the guitar growing ever louder as the tension in the song builds. This track reminds me a lot of the Swans at their melancholy best. "Hidden" starts off with an electro-drum beat that leads into aggressively swirling guitars. Quinn seems to be exploring his vocal range on this track, and the effects are lovely. His voice has a very appealing mid-tenor quality when he's not trying to force it into the lower registers. From Dungeon's Luxury of Doubt is a worthy debut that gives us much to look forward to. The passion of David Quinn and his collabarators is unmistakeable, and once again, I'm reminded of why I was drawn to goth all those years ago.

Location Whitby, North Yorkshire - United Kingdom

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