All Harm Ends Here
Early Day Miners are back with another platter of Midwest post-goth. Having already introduced their new rhythm section (Matt Griffin on drums and Jonathan Richardson on bass) to the world over the course of their last two tours, with All Harm Ends Here EDM have combined the lushness of their second album Let Us Garlands Bring with the conciseness of their last full-length Jefferson At Rest. Moreso than on any of their previous efforts, they take both musical and tonal cues from the principal architects of the 80's sad-as-hell dark underground - Echo & the Bunnymen, the Church, early-the Cure, and most notably the Bauhaus/Tones On Tail/Love And Rockets axis. While contemporaries like Bedhead and Interpol have mined primarily the darkest aspects of these long shadows, there lies in Early Day Miners' method an innate sense of hope that transcends even their darkest themes (decay, suicide, desertion). Perhaps this is most evident in the guitar interplay of long-time collaborators Dan Burton (Ativin) and Joseph Brumley. Arpeggios abound, the works of Roger McGuinn and The Edge come to mind in that there is a sense of hopefulness and sublimation which drives the songs to a better place.
All Harm Ends Here
Early Day Miners are back with another platter of Midwest post-goth. Having already introduced their new rhythm section (Matt Griffin on drums and Jonathan Richardson on bass) to the world over the course of their last two tours, with All Harm Ends Here EDM have combined the lushness of their second album Let Us Garlands Bring with the conciseness of their last full-length Jefferson At Rest. Moreso than on any of their previous efforts, they take both musical and tonal cues from the principal architects of the 80's sad-as-hell dark underground - Echo & the Bunnymen, the Church, early-the Cure, and most notably the Bauhaus/Tones On Tail/Love And Rockets axis. While contemporaries like Bedhead and Interpol have mined primarily the darkest aspects of these long shadows, there lies in Early Day Miners' method an innate sense of hope that transcends even their darkest themes (decay, suicide, desertion). Perhaps this is most evident in the guitar interplay of long-time collaborators Dan Burton (Ativin) and Joseph Brumley. Arpeggios abound, the works of Roger McGuinn and The Edge come to mind in that there is a sense of hopefulness and sublimation which drives the songs to a better place.
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Early Day Miners are back with another platter of Midwest post-goth. Having already introduced their new rhythm section (Matt Griffin on drums and Jonathan Richardson on bass) to the world over the course of their last two tours, with All Harm Ends Here EDM have combined the lushness of their second album Let Us Garlands Bring with the conciseness of their last full-length Jefferson At Rest. Moreso than on any of their previous efforts, they take both musical and tonal cues from the principal architects of the 80's sad-as-hell dark underground - Echo & the Bunnymen, the Church, early-the Cure, and most notably the Bauhaus/Tones On Tail/Love And Rockets axis. While contemporaries like Bedhead and Interpol have mined primarily the darkest aspects of these long shadows, there lies in Early Day Miners' method an innate sense of hope that transcends even their darkest themes (decay, suicide, desertion). Perhaps this is most evident in the guitar interplay of long-time collaborators Dan Burton (Ativin) and Joseph Brumley. Arpeggios abound, the works of Roger McGuinn and The Edge come to mind in that there is a sense of hopefulness and sublimation which drives the songs to a better place.
