Holo “In Limbo”

Rising contemporary electronica musician Holo has released the title track for his upcoming In Limbo EP on the 25th of February. The EP itself is slated for release on the 11th of March via Houseum’s sub-label Ellipse Records and features the previously released single, ‘Bleu’ which was supported by KCRW’s Jason Kramer as well as CLASH Magazine.

The Australian producer burst onto the scene last year after releasing his debut EP, Atlas, with house music heavyweight UK label Shall Not Fade’s sub-label Lost Palms. The EP featured the deep house classic ‘In My Dreams’ that earned over 2 million streams across platforms. In Limbo sees the producer combine a wide variety of sounds including breakbeat, pop samples, live guitars and acid lines all while infusing them with chilled overtones.

Hugo Horwood (Holo himself) is originally from Canberra and is currently living in Melbourne, Australia. His music draws from unexpected genres, including pop, classic rock, acid and 90s hip hop, to create a sound that is truly his own. Some of these artists include the likes of Radiohead, The Beatles, HNNY, Laurence Guy, Lone, Leon Vynehall, Four Tet, Daft Punk and Tame Impala to name a few. His own sound calls to mind the likes of Floating Points, Bicep, French 79 and Rone.

‘In Limbo’ is the epitome of holidays: luxurious soundscapes and unhurried production at each turn. Join us as we venture down a long, winding road that hugs the mountains on one side and showcases a vast aquamarine world on the other. Just above, around the bend, you know there’s a house party waiting for you that promises sunsets and good vibes but for now, the road stretches on and there isn’t a rush in the world. Why would there be, when you’ve got Holo on the speakers?

Speaking of the ‘In Limbo’ single, Holo tells us: “This is the first track I produced for this EP, and it set the tone in my mind for how I wanted the record to sound. It combines disco and pop samples, breakbeat drums and my own guitar and bass playing, and I remember thinking when writing it, “this shouldn’t work”. The bell at 1:04 is from a field recording of a Melbourne tram, and will be instantly recognizable if you’re from Melbourne! My favourite part of the track is the last minute or so, where the strings and choral parts sneak up and shift the mood from fun to something more melancholic – like how you might feel at end of a party.”