After half a decade in Europe as frontman for the mercurial Brittsommar, Sawyer returned to the United States to begin a new project under a new name.

Once settled in Oakland, California, he found his way into the then thriving DIY music scene, where he met Travis Snyder (pedal steel), Chris Clayman (bass), and Tim Decillis (drums). Sawyer moved from guitar to piano and the band began to reimagine the formerly folk inspired songs into a new sound.

Eskota is the band’s first release, which sprang from a seven day recording session in a ghost town east of Dallas, Texas. Having only brought a guitar and a microphone, the album was more a send off from the former guitar-based folk project than a documentation of the new sound that was beginning to develop.

The next year, Catch Prichard released two singles, “Don’t Want It” and “The Alleyway”. Both tunes showcase the group’s changing style through the arrangement of acoustic, electronic, and ambient driven arrangements.

2019’s release of Utter Disbelief dives deeper into this growth with Sawyer's weighty baritone voice, classic drum machine rhythms, gritty Mellotron, and gliding pad melodies. It is an album that resonates at the emotional frequency of Popol Vuh's Aguirre and Cohen's Ten New Songs.

Catch Prichard’s forthcoming release, I Still Miss Theresa Benoit (2021), is their most expansive album to date. It is the band’s first attempt to bring elements of their live performance into the studio, while weaving together musical genres and literary themes that have influenced the band's career. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.