the eames era
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the eames era

Band Pop Rock


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This band has not uploaded any videos



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Nationwide Radio Airplay:
"The Second EP"
-Could be anything
-All of Seventeen
-May not know my name
-I said



The Eames Era: a birth certificate
When Ted Joyner (guitar) moved into a house next door to high school friend and old roommate Grant Widmer (guitar) in fall 2002, the pair decided their neighbors wouldn’t mind if they held band practices at the address. They were right.
Joyner soon recruited fellow architecture students Greg Gauthreaux (drums) and Brian Waits (bass) for rehearsals, some of which were held on days when classes were cancelled during a particularly unpredictable hurricane season.
While searching for a lead singer, a friend of the band recommended a young music major, Ashlin Phillips. Phillips soon found herself among four big brothers incessantly writing and practicing with the band until their first—and only—gig as The Double Zeros in December 2002.
Redubbing themselves The Eames Era, the first volley of shows were short, supporting sets that nevertheless drew large crowds on the strength of a handful of punchy originals and inventive covers like The Breeders’ “Little Fury” and The Beatles’ “Yes It Is.”
Things accelerated when the band recorded a 3-song demo in Grant’s garage apartment in early 2003. The E.P. garnered steady gigs around Baton Rouge including at Red Star, a bar whose owner also runs a small record label. So The Eames Era climbed aboard the good ship C Student that spring, playing headlining shows to packed out crowds and preparing to enter a professional studio.
The first track from these sessions, “Could Be Anything,” was chosen by WTUL-FM in New Orleans for its 2004 compilation disc. The video for the “Could Be Anything” single was released in April 2004 and won an award at LSU’s annual independent film festival.
In July, the band embarked on its first extensive tour, calling on ports along the eastern seaboard, including King’s in Raleigh, The Talking Head in Baltimore and New York City’s Continental Club.
Upon returning The Eames Era released The Second E.P. through C Student Records, a catchy four-song selection of the band’s early material. On songs like “May Not Know My Name,” Waits’ jagged howls echo around Phillip’s smooth vocals sounding like the Pixies-in-reverse, just more well-adjusted and tuneful. While Gauthreaux—the son of a principal percussionist in the U.S. Navy band—keeps military time with just the right amount of swing.
But anchoring The Eames Era sound are the clean, interlocking guitar chimes of Joyner and Widmer that escalate and counter each other at every turn, building tension and releasing, like a sordid house of cards toppling over onto hook after hook of indie-rock buzz.
Like their namesake—renowned architecture and design pair Charles and Rae Eames—the band incorporates a diligent, inventive work ethic and precision into their craft. Though some traces of Blondie, Talking Heads and The Waitresses linger low in the mix, the band stakes its own claim on an energetic garage pop that’s equal parts dingy and danceable. Welcome The Eames Era…