Many a classic tale begins in media res. Odysseus bobs onto shore after months of grueling seas; Nick Carraway stumbles into Jay Gatsby’s umpteenth block party attempt to woo the love of his life; Stingo drifts into Nathan and Sophie’s doomed romance when he settles into his salmon pink quarters. Tempests literal and metaphysical have blown our characters to this point, battered by so many setbacks that they can’t even act broken anymore – what could possibly break them now?

You probably wouldn’t think about classic literature the first time you stumble into Athens duo Eureka California. You probably also wouldn’t consider either half of the gang battered or beleaguered – Jake Ward stands on stage to shred guitar, tell clever jokes, and/or do both simultaneously, while Marie Uhler smashes the drums with a serene smile under her long matted hair. But Roadrunners (Eureka’s fourth album, FYI) tells the kind of stories that only seasoned travellers could share with the same gusto and wit. From the dreaded news drip of doom, to your last given fucks about dating apps, Ward has a riff and a punch line to match many a modern malaise – cos those struggles are real, and both he and Uhler have faced enough to know how to wrap them up and kiss them off in two minutes flat.

For Roadrunners, our heroes return to the scene with more firepower and tricks than ever. As with 2016’s Versus, Eureka journeyed back to the UK to record with MJ at Suburban Home; yet, while that glorious rocket launch blasted the pair’s volume to new limits, this go-round careens even further, bypassing Ward’s old acoustic confessions for an album of HITS, HITS, HITS. The chorus of ‘Mexican Coke’ slams so hard into overdrive, that millennials will think fondly of high school (maybe those Green Day fans were on to something!). ‘Over It’, meanwhile, is a classic Eureka banger, where Ward gets to show off his rock star athletics & Uhler can bash another refrain between her cymbals. Yet, even with that ammo locked and loaded, the duo temper their Superchunk-sized power with intrigue – measured strums and echo-y verses signify braver journeys into the studio, the likes that remind you of those deep Buzzcocks cuts or Colin Newman’s solo stuff.

Yet, what adventurer wouldn’t emerge from their trials and tribulations without some pithy words of wisdom? Eureka have staved off their share of fake friends and dumb dudes, and both Ward and Uhler have learned to cut straight to the bone. Roadrunners is chock full of shots fired, which only make you fall harder for wicked tunes that’d you wanna sing along to anyway. The extreme surfin’ bird ‘JJT’ features the drummer’s first Eureka lyric, about how so many 20-somethings (including herself) can nearly work themselves to death for barely minimum wage. ‘SWDs’s gut-punches dude-only bands with just one verse: ”why should I ever care again / about a band made up of four or five straight white men?” These are the pointed reflections of travelers concerned with the world around them – and especially this precarious moment, as ‘Threads’ reminds us of our trigger-happy commander-in-beef: “I’ve got the launch codes / it’s just a nuclear option”.

In most cases, though, Ward balances his loaded anecdotes with sneaky allusions and punch lines. A sly jab at Pavement prefaces the windswept resolve of ‘Perfect Grammar’; Ward slips a Cowtown lyric into ‘I Can’t Look In YR Direction’ with clever timing; he even references himself in ‘MKUltra’, stacking the chorus of a tune from 2014’s Crunch on top of the last refrain. Where these surreptitious nods often make you feel dumb if you’re not in the loop, Eureka never fly over yr head, because you’ll definitely recognise some lousy friend archetype anyway. You might even see your disappointed parents in “Perfect Grammar”: “ain’t it hard when you fall below your expectations / and I got no expectations.”

All this and more affirms that our intrepid duo has seen more of the road than many a hyped new gang. So you might dial in at media res, but that’s OK: Eureka’s next great conquest lies not in their past, but just beyond the green light on the horizon.

- Lee Adcock, Drowned in Soun, 7/2/2018





When artists have been playing shows for an extended period of time, the desire to evolve as a musician either becomes an obsession that rides roughshod over whatever made them interesting in the first place, or the artist gets caught in the loop of what made them successful in the past. It’s been over 10 years for Eureka California creator Jake Ward, yet so far he hasn’t succumbed to either extreme, choosing instead to explore every possible angle of chunky, organic rock and roll (please don’t sue me Campbell’s® Soup), without deviating from his roots as an insightful bedroom songwriter.

“Threads,” the first single off the duo’s upcoming LP Roadrunners, picks up where the band left off with 2016’s Versus, a fiery ode to Athens filled with a depth of insight I hadn’t seen from the band before. Ward and drummer Marie Uhler continue to confront the tinnitus hum of dead-end jobs, the mortality of relevance, and in this case, the existential threat of nuclear annihilation, which still takes a backseat to the more mundane headaches of life.

The duo have always had a bombastic charm, often barely able to keep up with their own onslaught. Each riff charges out of Ward’s amp with a mind of its own leaving lyrics and rhythm struggling in the wake. This blunt-force energy makes Eureka California tracks impossible to ignore, but “Threads” proves that Ward can tame the beast without losing the fire. The sharpened ‘90s alternative sound is a tantalizing way forward for the band, who have experimented with everything from lo-fi emo jams to noise rock. Give it a listen below.

- Russell Rockwell, Immersive Atlanta 3/8/2018


The sound these two get is pure and untouched by trends or commercial considerations, and from the first notes until the last amp fizz, they go for it with their hearts untroubled by doubt. Roadrunners is sure to give chills to any listeners who ever loved Butterglory, fell under (early) Pavement’s spell, or secretly (or not so secretly) wanted to be David Gedge when they grew up. A couple more records like this, and in 25 years bands will wreck their brains and spend their energy trying to sound like Eureka California circa Versus and Roadrunners.

- Tim Sendra, AllMusic 5/4/2018


Musically, the track loses none of Eureka California’s energy, and adds a more subtle and melodic touch; fusing the classic jangling-pop of bands like The Wedding Present or Expert Alterations with the emotive, energetic punk of Martha or Doe. Lyrically, the track is littered with references to musicians both heroic, and otherwise, with mentions of LL Cool J, Elvis Costello, and even an excellent, and well timed, dig at Morrissey. What truly makes Eureka California shine is their refusal to play by anyone elses trends or rules, a band making exactly the sort of racket they love, and in doing so they tap into something honest, raw and genuinely rather wonderful. They may be a decade into their musical career but Eureka California sound fresh, exciting and ready for whatever success is surely coming their way.

- For the Rabbits, 4/20/2018


Eureka California have been working in the trenches of the Athens music scene since 2011, redefining the bounds of pop music and challenging the limitations common to drums-guitar duos. On the surface, nuance seems foreign to the band, but amidst their blinding attack lies an understanding of dynamics which makes for a rollercoaster of a listening experience. On their most recent album, 2016’s Versus, the pair provided a cynical yet heartfelt deconstruction of Athens’ drinking culture and the idiosyncrasies of college town life.

Their new track “Wigwam” is the first part of the 3-song 7″ planned for February 24. The song begins with a surprising dose of bluesy swagger, but as it progresses Jake Ward’s earnest vocals and Marie Uhler’s punctual drumming propel the song into more comfortable (speedy) territory for the group. Eureka California is at their best when hurtling through hooks and leaving the listener hanging on each syllable, and “Wigwam” proves that though the band isn’t afraid to experiment, they also know how to focus their jams into fist-pumping anthems.

In a continued effort to provide affordable vinyl, Eureka California and HHBTM Records will release the 7″ for a measly $3, and if that isn’t enough reason to pick it up, the single will also feature a cover of the Superchunk classic “Slack Motherfucker.”

- Russell Rockwell, Immersive Atlanta (1/16/17)

In just under a year since releasing their last album “Versus,” Eureka California are back with a new single, “Wigwam.” The band had a set plan in mind when going into the studio: get in and knock it out and release a single to hold over ‘til recording the next full length. With “Versus” they went overseas to the UK and recorded with MJ at Suburban Home, but for “Wigwam” they decided to record here in their hometown of Athens, Georgia, with Dave Barbe (Sugar / Mercyland / Dave Barbe & the Quick Hooks) at his Chase Park Transduction Studio. Wasting no time, they recorded and mixed the single in one afternoon. A single on a tight budget, three tracks in under 8 minutes, hand-decorated sleeves — everything about this is economical. Eureka California have two brand new tracks, “Wigwam” and “Only Birds (No Feathers)”, and a cover of Superchunk’s “Slack Motherfucker.”

2nd – Liverpool @ Macguires w/ Good Grief, Fort Baxter, & the AV Society
3rd – London @ Sound Savers w/ Witching Waves
4th – Brighton @ West Hill Hall w/ Cowtown, Bloom, & the Snivellers
5th – Exeter @ the Cavern w/ the Fairweather Band
6th – Cardiff @ the Moon w/ Pink Grapefruit, Multitap, & Guide Dog
7th – Glasgow @ Nice & Sleazy w/ Womps, Pale Kids, & Whyno
8th – York @ the Crescent w/ Shopping & Gauche
9th – Leeds @ Wharf Chambers w/ Milk Crimes
10th – Nottingham @ JT Soar
11th – Manchester @ Fuel w/ Gauche, & Unpaid Intern

- Troy Michael, Innocent Words (10/26/17)

Every time a record mailer shows up from Athens, GA, I light up. Especially when something shows up with that distinctive HHBTM stamp on the return address. So, imagine my delight when the new Eureka California 7” showed up at the office.

I dropped what I was doing, fired up the turntable and cranked the eff out of the stereo. “Wigwam” is just a pure blast of adrenaline, a garage-infused punch in the nuts that bombards its way through your speakers and impales what’s left of your brain in about the span of two minutes flat. Not bad, eh?

Speaking of not bad, how’s about a super-rad cover of “Slack Motherfucker” by Superchunk? Yep, the more I spun it, the more I actually dug the B-Side, which also contains the galloping “Only Birds No Feathers.”

Do yourself a favor. Head on over to the Eureka California Bandcamp page, plunk down 7 bucks for their new 45 and prepare to rock out harder than you have all year. Put simply, the Wigwam 7” from Eureka California is probably the most fun any self-respecting indie rock fan will have this season. Highly recommended.

- Benjamin Ricci, Performer Magazine, (5/3/2017)

With the success and acclaim of their last album, Versus, still pretty much ringing in ears since its release just short of a year ago, US garage rock/pop duo Eureka California break up the  time before its successor with a new EP. Offering three slices of the band’s garage rock infused pop ‘n’ roll, the Wigwam EP is as sonically dysfunctional and magnetic as the Athens, Georgia hailing band’s last full-length but with a rawer quality which just hits the spot.

Wigwam is DIY old school, a flip back to the seventies with its design, recording, and release. Created with Dave Barbe (Sugar / Mercyland / Dave Barbe & the Quick Hooks) at his Chase Park Transduction Studio in Athens, the EP was recorded and mixed in just one afternoon. The two new songs and a cover of Superchunk’s Slack Motherfucker which emerged from that session come covered in self-made art and between them, band and HHBTM Records have set its price at virtually cost. It is a throwback in many ways to when passion and fans came first though fair to say, the music is the biggest pull with it.

The EP’s title track swiftly draws ears into its hands with a wash of initial sonic smog from which a rhythmic pulse begins laying down even richer bait. A single elegant melody soon wraps its charm around song and imagination too, another potent teaser heading towards the subsequent fuzzy squall of Jake Ward’s guitar and Marie A. Uhler’s stirring rhythmic enticement. As the former’s vocals make their plaintive case, the track’s energy and intensity begins to accelerate, its punk instincts rising for a tremendous crescendo of a finale.

With ease, Wigwam’s great start is matched by the scuzzy power pop of Only Birds (No Feathers). Within seconds Marie’s jabbing beats alone ensure the song has its hooks deep in a rock ‘n’ roll appetite, their nagging trespass surrounded by the hooks spilling exploits of Jake’s fuzz yielding strings. It is a commandingly catchy affair, a rousing incitement as seemingly familiar as it is certainly fresh and inescapable fun.

The final sonic roar of Slack Motherfucker is equally as captivating, Eureka California managing to give the track greater instinctive energy as well as melodic dexterity without defusing the causticity of the original. It is a fine end if over shadowed by the band’s original songs on Wigwam, itself a very intriguing teaser for what is to come in the future from Eureka California while being a highly satisfying romp for the now.

The Wigwam EP is out now on 7” vinyl through HHBTM Record

- Ringmaster Review (3/25/17)

Pleasant pop offerings from Happy Happy Birthday To Me are not unusual, and Eureka California (no comma, and from Athens, GA, not Eureka, CA) is no exception. This platter offers eleven fun scrappy pop songs with a punk bent from a two-piece on guitar, vocals, and drums. The songs range from happy, to smartass (see “I Bet You Like Julian Cope,” which uses its title as half the lyrical content), to introspective. The music has variety, but comes together cohesively as a singular piece, and the vocals are a nice snotty whine that has an underlying sense of urgency that give the songs a sense of honesty. Eureka California might have been more appropriately called Sacramento California, given the semblance they have to bands from that fair city (that’s a really good thing).

–Vincent Battilana, Razorcake


For a duo, Eureka California make a hell of a lot of noise. The Athens indie rockers, comprised of drummer Marie Uhler and singer/guitarist Jake Ward, have just turned in their second full-length in 18 months, and far from sounding like a rushed out also ran, ‘Crunch’ is a remarkably satisfying slice of unpretentious college rock.

Tracks like “I Bet You Like Julian Cope” and “Sneaky Robby” combine the lyrical wit of someone like Jonathan Richman, but the music itself is equal parts Mudhoney and The Jam.
Much like their debut, this one is another whirlwind of short, frantic, but well-crafted power pop ditties that slams to an abrupt halt not long after you drop the needle – their longest song is three-and-a-half minutes long, but most hover around the two minute mark, so the duo are in and out like a band of indie rock ninjas.

John B. Moore, Innocent Words (8/1/2014)

Eureka California actually calls Athens, Georgia home and features the sarcastic, snarky musicianship of Jake Ward and Marie Uhler. The two have a penchant for capturing mid 90’s indie pop with subtle nuances that make eleven songs on Crunch memorable and instantly relatable. Ward, who labels himself “overeducated and underappreciated” in the band’s bio sings of life’s general frustrations for the twenty-somethings who will instantly recognize themselves within his lamentations. “Oh, I’m a deep thinker/And I know who Descartes is” he announces on the wryly-titled “Edith (One Day You’ll Live in a Bunker)” and declares, “You know Athens is dead” on “This is No A-side.” Alongside simple but richly harmonic riffs and a steady backbeat from Uhler, Ward’s lyrics tell tales of emptiness on “No Mas” (“Nobody will remember your name”) and general apathy (“I’d like to think that I still care”) on “There’s No looking Back,” a song that displays a more rambunctious side of the band, and while its never abandons its steadfast pop sensibilities, the track incorporates more aggressive punk aesthetics into its structure, a trait matched on the brief “I Bet That You Like Julian Cope.” The apex of the record is the self-reflective and self-ridiculing “Art is Hard.” Ward is a clever wordsmith who demonstrates a keen sense of acerbic introspection when he states, ”Money, money is everywhere, but there’s not a cent to spend/So what do I care? If I don’t get my share?” The song bounces in a manner similar to the A-side’s closing “#1 in the State”, but it also retains a tangible despondency that makes the track so intriguing. Ebbing and flowing in intensity, the song encapsulates the talent and comradery shared by these two skilled individuals. Some may claim that they have heard this before, but only if one is of a certain age: the kids just gaging the frustrations of a burgeoning adulthood will find this refreshingly identifiable and those who appreciate agitated pop will also find quite a bit to like.

– Jersey Beat (July 2014)


Well, ok, there’s a definite whiff of the 20th century’s final decade about Eureka California, specifically the clattering super-shonk of acts like Guided By Voices and Pavement, but the lines are far from greyed-out. Big Cats Can Swim is wide-screen, high-definition magnificence; brightly cheerful and thrillingly instant. The product of kids who know there’s no new shades on the spectrum, but are determined to have a blast mixing the colours.

The highlight, however, is the kinetic immediacy of ‘The Day No Trains Ran’: the band make like a stripped-down Olivia Tremor Control covering Archers of Loaf’s ‘Might’, powered simultaneously by the purposeful drumming of Marie Uhler and a shared energy that drizzles down from the speakers, straight into the listener’s feet. Ward hollers ‘it was a ticker-tape parade,’ and the overall effect is so goddamn euphoric you can practically feel yourself in the motorcade; innumerable strips of paper clouding your vision whilst gently caressing your skin. Heroic. Triumphant. Wonderful. It’s the sort of trick you wish pop music would pull off more often, though it rarely does.

Line of Best Fit (10/26/12)


Eureka California is an Athens band playing delightful garage rock – British invasion-influenced stuff that is really catchy, raw and kind of psychedelic, in the vein of the Nuggets comps or, say, 13th Floor Elevators or early Pink Floyd – or jumping forward to some of the Paisley Underground stuff like Rain Parade. Big Cats Can Swim is a really good record… as in, the more I listen, the more I like.

When You Motor Away (9/20/12)


Their album crackles and pops with great songs that retain the vital and immediateness that you would have experienced if you would have been in their garage when they were recording them. They have a lot of good ideas about crunchy pop songs and infuse a playfulness in them that many bands often forget.

The Finest Kiss





Track debut at Immersive Atlanta (3/8/18)


Vinyl of the Month at Performer Mag (5/3/17)

Ringmaster Review (3/25/17)


Bandcamp interview


Razorcake review

Artrocker podcast

Live review of London show November 2014 at Whisperin and Hollerin

“I Bet That You Like Julian Cope” video premier at God is in the TV

Performer Mag review

Pop Stereo review

The Skinny review

Insite review (p. 20)

Innocent Words review

Raised by Gypsies review

Our Top 5 videos at Creative Loafing

Tuning Into the Obscure review

Twin Cities video premier at Brooklyn Vegan

Band of the Week at Examiner

Vinyl District review

Flagpole’s Favorite Records of 2014, first half

Fear and Loathing in Long Beach review

Get it On Vinyl Review

14 AthFest Undercards, Flagpole

MP3 at 3PM, Magnet

When You Motor Away review

Fabricoh Magazine review

Babysue review

Big Takeover review


Tunabunny, Eureka California have new albums, touring, playing CMJ (Brooklyn Vegan)

WUOG’s Top 20 Local Albums of 2012 (WUOG)

Our Local Music Publication Finally Notices Us! (Flagpole)

Eureka California/Lame Drivers Split Release (Flagpole)


To Eleven


Favorite Song Alert (Three Imaginary Girls)