He practiced until sunrise.

Hour after hour he repeated the scale, not mechanically, but listening to every vibration. At one point he rested his cheek against the horn of the bass, feeling the notes resonate through the instrument and into himself, just as he had years earlier with the backyard clothes lines.

The next morning he was pounding on his teacher's front door before breakfast.

While he was still eating cereal in his underwear, Johnny just barged in with focused excitement and said "Just watch."

Then he played the scale perfectly.

Then he played it again—ten times faster.

His teacher, watching such enthusiasm and precise playing said, "you little shit ya," and agreed to teach him. From that day on, John E. Barnhart III became Johnny's bass teacher and mentor in all things bass.

Music quickly became more than a hobby. Johnny also studied trumpet throughout school while continuing to immerse himself in bass, spending countless hours learning songs, writing music, and jamming with friends. He wasn't interested in simply memorizing parts. He wanted to understand why music worked, how sounds fit together, and how emotion could live inside a single note.

As a young adult he joined the band One Voice, later renamed Dust to Dust, beginning years of touring, playing shows, recording, and lots of practice. He formed close creative relationships with musicians whose discipline and passion challenged him to grow, including guitarist Dominic Casale, whose dedication to the craft left a lasting impression.

Johnny has always valued loyalty as much as musicianship. Throughout the years he has been fortunate to write and perform alongside remarkable artists whose friendships continue to shape his work, including lyricist and vocalist Greg Lamar Dorman, guitarist, vocalist, keyboardist and producer John Bechdel, drummer Anthony Macias, artist and drummer Alex Higgins, drummer Todd Fogle, musician John David Skalburg, guitarist Eddie Taylor, guitarist Jason Yoder, and many others whose contributions have become part of his musical journey.

Following the loss of his father, Johnny moved to Chicago, where he continued writing and performing before eventually meeting his partner, Lesley. Together they built a life centered around family, creativity, and the freedom to pursue meaningful work. During that chapter he also completed a European session tour, filling in on bass and vocals for his friend Eric Lippincott, while continuing to develop his own artistic voice.

Today that voice is expressed most fully through his solo albums, Lanterns to Hear By and Clothes Lines.

Neither record was created to chase trends or commercial expectations. In fact, they were created as a deliberate response against them.

Johnny believes that modern music often sacrifices humanity in favor of precision, repetition, and formulas designed for marketability. As technology continues to reshape the music industry and bypass the heart and meaning of music, he feels an even stronger desire to create recordings that celebrate the opposite—music that breathes, stumbles, stretches, and feels unmistakably human.

On Lanterns to Hear By, Johnny performs every instrument himself, allowing the songs to unfold naturally without correcting every imperfection. Every note serves the emotion rather than the metronome. It is raw and emphasizes the eb and flow of esoteric, emotionally filled compositions.

Clothes Lines expands on that philosophy while placing the bass squarely at the center of the conversation. Rather than treating bass as merely the instrument that supports everyone else, Johnny explores its ability to carry melody, atmosphere, texture, rhythm, and emotion. The album also features collaborations with musicians he deeply admires, each adding their own voice while preserving the honesty of the recordings.

For Johnny, these albums are not simply collections of songs.

They are experiments.

Experiments in vibration.

Experiments in feeling.

Experiments in asking what happens when music is allowed to exist without polishing away the fingerprints of the person who made it.

Experiments in merging techniques in emphasizing resonance and an alternative imperialist platform.

His hope isn't that listeners hear technical brilliance.

His hope is that they feel something - the magick woven into every ripple of sound and feel the escape.

He often encourages people to lie down, listen to the albums uninterrupted, and allow the music to carry them somewhere familiar yet difficult to describe—a place inside themselves that modern life rarely gives them time to visit.

Looking back, everything seems to point to that afternoon in the backyard.

The clothes lines.

The vibration.

The sound traveling through an attentive boy who didn't yet know he was becoming a musician.

More than anything else, that moment continues to define Johnny Sandler's work. He has never been interested in simply playing notes.

He has always been interested in discovering what sound can do.

And after a lifetime, so far, of listening, he is still following that vibration wherever it leads.