About

For more than three decades, Scott Holiday has built a career by following instinct. Long before there was a concept for an album—or even the idea of a solo project—he found himself drawn into a new creative discipline.

Every morning began the same way: get in the studio and grab a guitar, with one simple rule. Write something.

Not a finished song. Just a fragment—a riff, a melody, a rhythm, a texture—before putting it aside and beginning again the next day. The goal wasn't productivity. It was momentum. Stay in the flow. Keep moving.

As the collection grew, something unexpected began to emerge.

After weeks of working this way, Holiday realized these sketches weren't isolated ideas at all. They were speaking the same language. The music felt more expansive, more hypnotic, more cinematic than what he’d written before. It leaned into atmosphere as much as melody, drawing equally from psychedelic experimentation, vintage synthesizers and groove-driven composition. More importantly, it felt deeply personal. Rather than inviting broad collaboration, these pieces seemed to ask for something different: to remain intact and evolve according to their own internal logic.

Those earliest sketches were built around improvised drum performances from longtime collaborator in Rival Sons, Michael Miley, who had been sending Holiday recordings from his own home studio. Rather than treating them as finished drum tracks, Holiday used them as raw material—cutting, reshaping and reimagining the performances until they became the rhythmic foundation of each composition. As the project evolved, many of those original performances remained at its core, with Miley ultimately providing the drums heard throughout Topology.

By the time five distinct compositions had taken shape, Holiday knew he wasn't writing toward another band record. He was uncovering the beginnings of an entirely new artistic identity.

That identity became HOL1D4Y.

Originally conceived as an instrumental project, the music had already begun evolving into fully realized compositions. As Holiday started expanding the arrangements, he invited keyboardist Jesse Nason to explore the project's sonic landscape. Layering rich textures across the tracks with vintage Moog, Mellotron, Oberheim and Prophet synthesizers, Nason became an essential part of the album's evolving sound. Every contribution, however, ultimately passed back through Holiday's hands. He approached the recordings as building blocks—editing, reshaping and producing them into a singular body of work that reflected the world HOL1D4Y was becoming.

Then everything stopped.

Just minutes from home, Holiday was struck by a car while riding his bike after an evening with friends. He has no memory of the collision. The accident left him with six broken ribs, a serious shoulder injury, a head injury, and weeks of recovery. For a guitarist whose entire life has revolved around creating with his hands, the sudden stillness forced a different kind of reckoning.

Unable to move freely but unable to stop thinking creatively, Holiday found the unfinished pieces continuing to evolve in his mind. During recovery, something fundamental shifted. While a few of the compositions still felt complete as instrumentals, the rest began asking for something more.

"What surprised me was that they stopped feeling like instrumental pieces," Holiday says. "They started asking for a story. Once I realized that, the words just started pouring out as a stream of consciousness. That's when I knew I wasn't looking for someone else to sing these songs—I needed to be the one to tell the story."

For the first time in his career, Holiday stepped behind the microphone as the voice of his own music. It was less a reinvention than a continuation—a part of his creative voice that had simply been waiting for the right body of work to emerge.

The result is Topology, the debut HOL1D4Y album—a record less interested in genre than in perception. Recurring ideas of awareness, observation, memory, consciousness, and the invisible patterns that shape how we experience the world, run throughout its songs. Track titles like "Metacognition," "Panoptic," "Holotropic," and "Equanimity" aren't references chosen for their obscurity; they're different windows into the same central question: how does a shift in perspective change the way we experience ourselves?

That question eventually led Holiday to topology, the branch of mathematics concerned with forms that can stretch, bend and transform without losing their essential nature. Within topology, knot theory explores how seemingly complex knots can often be untangled not through force, but through perspective. What appears impossibly tangled may simply require seeing the problem differently.

Topology isn't a concept album about mathematics. It's an album about transformation without fracture. About the ways people reshape themselves through experience while remaining fundamentally who they are. The accident didn't create these songs; it gave them their voice. Recovery became less about returning to the person he had been than about discovering the artist these compositions had quietly been leading him toward all along.

Sonically, Topology occupies a space where psychedelic atmosphere, alternative music, progressive exploration and experimental pop intersect. Amid textural, fuzz-soaked, cinematic guitars, Topology is equally defined by lush vintage synthesizers and deeply pocketed drum grooves that anchor constantly shifting arrangements. There are echoes of the adventurous spirit of '70s progressive music, but the record feels equally informed by modern alternative production and a willingness to let mood, texture and movement take precedence over convention.

HOL1D4Y extends beyond the music itself. Every song arrives with its own visual language, each video, photograph and piece of artwork serving as another perspective on the same larger idea. Rather than treating visuals as promotion, Holiday approaches them as an extension of the creative work itself.

"One painting tells you an idea," he says. "A catalogue of paintings tells you what the artist was really after."

That same attention to detail carries into the instruments themselves. Holiday has long been known for designing custom equipment around specific creative visions, and HOL1D4Y continues that tradition with one-off instruments built specifically for this body of work, including a custom double-neck bass and guitar by Matt Hughes of Banker Custom Guitars. Every decision—from sound design to instrumentation to visual presentation—serves the same singular world the album inhabits.

Recorded and self-produced at Holiday's home studio, Topology represents complete creative independence. Every aspect of the project was developed according to its own internal compass, free to become exactly what the music demanded.

"The beautiful thing about art is that it doesn't need to be one thing," Holiday says. "We all have a personal relationship to a song, so it takes on its own meaning. There's a clear personal message I'm giving—and from that point the listener can personalize the experience for themselves."

For most of his career, Scott Holiday has been known as one of modern music's most distinctive guitarists. With HOL1D4Y, he steps into something much larger than a solo project. Topology is the first chapter of a new creative identity—one built on curiosity, complete artistic freedom, and the conviction to follow the music wherever it leads.

With that maximum fidelity and audio experience in mind, the album comes out as a double vinyl composed of 9 tracks and 46mins in total.

HOL1D4Y is:

**Scott Holiday** — Guitar, Bass & Vocals

**Jesse Nason** — Synth

**Michael Miley** — Drums

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UK & EUROPEAN PUBLICITY: Talita Jenman talita@talita.co.uk

USA PUBLICITY: Jon Bleicher jon@prospectpr.com