Catch Prichard

Catch Prichard

If there is one constant in the work of singer-songwriter Sawyer Gebauer, it is change. Moving to Sweden from Wisconsin at only 19, he formed and fronted the mercurial Brittsommar, a musical entity that took off in Europe. With a rotating cast of musicians, Sawyer released Brittsommar’s first LP, the dark and atmospheric Day Of Living Velvet in 2011 before relocating to Berlin. There he recorded 2013’s The Machine Stops in a dilapidated warehouse.
An avid traveler, Sawyer crossed the ocean between Europe and the U.S. 18 times within a handful of years. Eventually, he resettled on home soil and recorded the Mary Me EP (2015) at TRI Studios in San Rafael, California. This, ultimately, was to be Brittsommar's final album.
Meanwhile, an alternate course was unfolding, a path that necessitated letting go of an identity once embraced. After turning Brittsommar’s last page, Sawyer's new project, Catch Prichard, grew from deep roots in Americana. Citing Townes Van Zandt and Springsteen’s 1995 LP The Ghost of Tom Joad as major influences, Sawyer set out to record a collection of sweet and simple songs that exalt narrative as much as they do melody. The result is Eskota, a five-song EP resting somewhere between languid folk and forlorn country; Sawyer’s weighty baritone gliding over pedal steel and Moog like an oil slick on water.
Named after the Texas ghost town in which the album was recorded, the entirety of Eskota was laid down in one week within the walls of an abandoned grocery store. When Sawyer and engineer Brad K. Dollar first arrived, the building was overrun with wasps, and rattlesnake skins littered the floorboards. In time, the space was reclaimed, the night came, and recording began. Eskota, like all of Sawyer's work, is a testament to change-but it is change that can be found closer to home.

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