HOL1D4Y

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.