Over the span of two critically acclaimed full length albums (2013's Fathom Lane and 2012's Down By Half) Fathom Lane has been getting international attention for their wonderfully indefinable sound. Michael Ferrier's songs are at once accessible and memorable, but are also sneaky with their quietly innovative touches. Ferrier cites classic touchstones such as The Velvet Underground, Tom Petty, Gram Parson's Cosmic American Music, and the Laurel Canyon songwriters, but even with these influences Fathom Lane manages a contemporary sound. The blend of Ferrier's steady and simple tenor with fellow singer Ashleigh Still's more mellifluous soul is a main feature of the rich sound Fathom Lane brews; the band invite their listeners in and then delight them with audio surprises.

"With two gorgeous albums in two years, Fathom Lane have quickly emerged as one of the brightest new artists in the Twin Cities...Finding some kind of unlikely common ground between alt-country and floaty prog rock, the band achieves a timeless quality, as on single “Sugardown” or their breathtaking (and prescient) cover of Lou Reed’s “Perfect Day,” released just weeks before his death." - Jim McGuinn, 89.3 The Current

"Fathom Lane’s self-titled second record is a tremendous step forward. Their first, 'Down By Half', was a quite remarkable damn thing, a record of elegiac beauty that sounded like a cross between the Cowboy Junkies and, you know, someone less boring than the Cowboy Junkies, a Johnny Cash or someone with a touch of murder in his soul. This one, though, is 3/4 to Jimmy Webb-land — full of complex melodies, jazzy harmonies (courtesy the phenomenal Ashleigh Still) wrapped around a country heart and unexpected arrangement touches that jump out of nowhere. It’s another example of how quiet works marvelously — an album full of magnificent songs and gorgeous, hushed, echoey arrangements." - Jon Hunt, l'etoile Magazine

"Fathom Lane abounds in silent pining soft pop, alt-country folk, and canyon rock, with the right trill of melancholy to make it stick. (For illumination, see their hushed treatment of Lou Reed's 1972 Transformer classic 'Perfect Day.") Ferrier probably likes Gene Clark and Gram Parsons, but he's got a lovely, light vocal touch, augmented by angelic female harmonies. And whenever the lap steel player adds on, it's a clincher. It's simple but it creates a mood, too--the general hallmark of this bluesy, rainy day record." - Jack Rabid, THE BIG TAKEOVER