Andreas Rimheden and Marie Hagelqvist had occasionally recorded music together since the mid 90s. The style ranged from synthpop to minimalistic industrial songs and were often a crossover between these styles. Around the beginning of the new millenium they decided to really form a band together. They started producing songs for a full length album, which was eventually released in 2002 and was called Private Void.

During the first years Andreas and Marie used the old band name of an industrial/EBM band called Morticians that Andreas was previously involved in. This gave them a way more gothic appeal than what they were actually looking for. By 2003 they had come up with a more suiting name: Eternity Range, which is taken from the name of a most likely quite vast place on the South Pole.

The year 2003 was also when a third memberjoined the band: Loita Jahnsson, who plays the violin. She greatly enhanced the romantic yet dark mood of the music and brought another dimension to the bands live performances. By then the band had already made most of the songs for a second album on which their musical style has developed further into something more ethereal, sensitive and mellow; a darker form of synthpop with apparent strokes of industrial harshness and electronic cold. The inspiration for their music and lyrics is taken from life itself, from nightmares and from the many times that they are the same thing. Vulnerability, hopelessness, sorrow, fear and existential doubt are the main lyrical themes.

The music of Eternity Range has recieved great reviews in popular European fanzines and has been played in Swedish national radio.

The second album by Eternity Range called Solitude was released in the summer 2005 by US label Kinetik Media.

These are excerpts from some reviews of Morticians "Private Void":

"Musically speaking, the beats are good and varied (not this dull
thump thump thump we've been hearing a lot in clubs) and the melodies are brilliantly simple and irresistibly catchy. The lyrics are wonderfully sarcastic, dark and morbid at times. Quite a punch packed into an innocent sounding lullaby. As if the music alone wasn't enough, Andreas - whose vocals are smooth and quiet, yet masculine, brought in Marie Hagelquist to do backing vocals on this CD. Perfect point and counterpoint -- I don't think you could have asked for a better combination.

Definitely a skilled musician with quite a knack for keeping things interesting yet minimal, I think there's something for every one with the Morticians whether you're into club hits, or melodies, or lyrics or even
ballads."

- American fanzine Starvox

"Andreas Rimheden has a really great voice that fits this kind of music very well, and on some of the tracks he is accompanied by a female voice which belongs to Marie Hagelqvist. The two together are an excellent duo. The album isn't pure synth-pop all the way through, though. On, for instance, "Goodbye" the beats are more like eighties' EBM, much like the early works of The Klinik, but more laid back. This creates a really nice contrast with the melancholic vocals. There are also some ethereal vibes present in the production, especially in "To Heaven", where the beginning sounds like a faster version of the "Twin Peaks Theme". The track is very atmospheric and Rimheden sounds like a young Dave Gahan of Depeche Mode. And, while talking about Depeche Mode, the really great track "Aware" sounds like a mix between early DM and Erasure. Of course, this makes it an obvious favorite, but my two absolute favorites must be the opener "Alive" and the excellent "Last Dance". I find it pretty amazing how something that sounds so simple and laid back can turn out to be so great. That is what I like about Morticians; it is straight forward without lots of cheap effects and so on. Just synth-pop the way it sounded in the early eighties."

- Swedish webzine Moving Hands