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holon is one of the musical outlets of singer, songwriter and guitarist Ronny Pedersen. Ronny joins us below to talk about holon, as well as sharing his beginnings in music.
What are the origins of holon?
Holon started as a solo project after I’d been in a number of bands that, for various reasons, didn’t quite last. I had a growing backlog of songs that didn’t really fit anywhere, and I reached a point where I realized I needed to take full ownership of the process. That meant writing, recording, producing—everything. It was both daunting and liberating.
Eventually, I brought in Geir Anfinn Halland Johansen, a brilliant drummer who’s been with me since the beginning. He’s one of those rare musicians who understands both feel and technicality, and he’s played a huge role in shaping holon’s rhythmic identity. So while I’m responsible for most of the layers, arrangements, and production, Geir brings a dynamic, organic energy that helps ground the songs.
What should people expect when they check the band out? How would you describe holon?
Holon is music for people who are looking for something immersive and emotionally resonant. It’s rooted in progressive and alternative rock, but it blends elements of jazz, ethnic, folk, ambient, cinematic textures, and singer-songwriter storytelling. The songs are built to unfold gradually—there’s a lot of attention to dynamics and atmosphere. I try to create music that invites listeners into a space where they can reflect, feel, and just be present with the sound.
As for me—I suppose I’d describe myself as someone who’s endlessly curious about how music can communicate the things we struggle to express in words. I’m not trying to impress anyone with complexity – although I do like some complexity to keep things interesting – I just want the music to feel honest and intentional.
How did you feel performing your first gig as a band, and how was it?!
Since Holon is primarily a studio project, I haven’t done many full-band performances. My first gig under the holon name was a stripped-back acoustic set, and I remember being incredibly nervous—but also excited. There’s something very raw about sharing songs that were written in solitude, now stripped down in front of an audience.
It was a great experience, though—seeing how people responded, especially to songs like “Two Grains of Sand,” reminded me that music doesn’t have to be loud or complex to be powerful. Sometimes, quiet connection is the most meaningful kind.
What are you working on at the moment that people can check out?
Right now, I’m finalizing Part 1 of Love & Behold, a two-part concept album that explores love, loss, reflection, and personal transformation. The first single, “Samsara”, is already out, and more tracks will follow leading up to the full release.
Alongside that, I’m revisiting some older unreleased material—songs that never quite found a home before, but that still feel relevant to where I am now artistically. I’m also spending time refining arrangements, mixing, and just giving each song the time it needs to become what it’s meant to be.
In terms of a similar audience, which band out there at the moment do you feel you would be best suited to open for?
Maybe The Pineapple Thief, Mew, or Steven Wilson would be a great fit. We share a similar focus on building emotional arcs within the music and creating immersive listening experiences rather than chasing trends or hooks. I think their audiences would appreciate holon’s emphasis on subtlety, texture, and storytelling.
Excluding yourself, which new band would you like to see break out and become a success?
I must say, I’ve really been enjoying the Norwegian band Kalandra lately. I only discovered them recently, but their sound struck a chord right away. There’s this beautiful blend of atmospheric depth, progressive elements, and a strong Norwegian folk influence, especially in the vocals, that gives the music a unique identity.
They manage to feel both grounded in tradition and forward-thinking at the same time—which is not an easy balance to strike. I’d love to see them reach a wider audience. They definitely deserve it.
What frustrates you about the music business?
The biggest frustration is probably the disconnect between artistry and visibility. You can spend months (or years) crafting something honest and nuanced, and still struggle to get it heard without diving deep into marketing, social media algorithms, or constant content creation—which often pulls focus away from the music itself.
There’s also the issue of streaming payouts. It’s an incredible time in terms of access—anyone can release music—but the financial ecosystem doesn’t always reflect the value of the work being created. That tension can be tough to navigate.
What are your first musical memories? And what was the lightbulb moment that made you go “I want to do that”?
One of my earliest memories is recording radio chart countdowns onto cassette tapes with friends. It was the excitement of capturing something in real time—and the start of my fascination with sound.
The real turning point came in school when I was assigned guitar in music class. Something about it just clicked. From there, I got lost in it—hours spent in my room with a four-track recorder and a drum machine, learning how to shape sound, structure songs, and eventually express something meaningful through it all.
What was the last gig that you attended as a fan?
I went to Tons of Rock in Oslo, which was an amazing experience. Four days of rock! I got to see some of the bands that shaped my musical path—Dream Theater, Megadeth, and Muse all in one place. Seeing Dream Theater live again was particularly special. That band opened the door to so much for me musically. And Muse… they have a way of making a stadium feel like a cinematic experience. It was powerful and inspiring.
What current social issue are you particularly passionate about?
I’m deeply concerned about the suffering that’s being inflicted on people by oppressive and authoritarian leadership. It’s heartbreaking to watch the consequences of power being used without compassion or accountability—whether it’s through war, systemic injustice, or the erosion of human rights.
Specifically, the actions of figures like Trump, Putin, and Netanyahu have caused immense harm, not just to individuals but to the social fabric and democratic ideals that many of us believe in. Whether it’s war, political manipulation, or dehumanization of vulnerable groups, it’s hard to stay silent in the face of that.
I’m not a political expert, but I care deeply about empathy, fairness, and truth—and I believe artists have a responsibility to speak up, reflect, and sometimes challenge what’s happening in the world around them. Music might not fix it, but it can offer solidarity, awareness, and a space to feel what’s often hard to process.
The album that you have in your album collection/Spotify playlist that would surprise most people?
Probably the blaxploitation soundtrack collection CD I’ve had since the late ’90s. It got some serious rotation back then, especially when I was deep into funky music and acid jazz.
People often associate me with moody, atmospheric prog or introspective singer-songwriter stuff, so they’re usually surprised to hear I once had a phase where wah pedals, tight grooves, and brass sections were my jam. But honestly, that era taught me a lot about rhythm, feel, and how music can be both cool and emotionally charged at the same time. Still a classic part of my collection.
Everybody is a fan of something. Who or what are you a fan of?
I’m a big fan of Frank Zappa. Always have been. What I love about his work is the sheer complexity, the unapologetic weirdness, and the fact that he managed to infuse it all with a very sharp and often hilarious sense of humour.
He had this rare ability to challenge convention without losing musical integrity, and he wasn’t afraid to be completely unclassifiable. That mix of discipline and chaos really spoke to me. Zappa’s music opened up my thinking—not just about how music could sound, but about what it could be. It taught me that creativity doesn’t need to follow rules, as long as it’s done with purpose.
What new music have you been enjoying so far this year?
I’ve really been enjoying the latest album from Opeth. They’ve always been masters at blending heaviness with atmosphere, and this new release just reinforces how effortlessly they shift between intensity and beauty. There’s a richness to their arrangements that always inspires me—both as a listener and a composer.
I’ve also been getting into the new album from Sleep Token. There’s something really captivating about how they combine emotional vulnerability with genre-bending production. It’s heavy, melodic, sometimes cinematic—and definitely unique. It’s exciting to see bands pushing boundaries like that. It reminds me that there’s still so much room to explore in modern music.
What does the next 6 months hold for you?
The release of Part 1 of Love & Behold is the big milestone. I’ll also be releasing more singles, continuing work on Part 2, and finally giving attention to some older material that’s been waiting in the wings.
The focus for 2026 is on consistency and connection—staying present in the creative process, sharing more regularly, and deepening the relationship with the listeners who find meaning in what I do.
How active are you on social media, and where can people connect with you?
Not very active – I am trying to be better, but my energy goes into the music creation process. I try to be active, but I aim for quality over quantity. I post updates, reflections, and sometimes studio glimpses—usually on Instagram (@holon_music) and Facebook (holon.official).
You’ll also find my music on all major streaming platforms—Spotify, Apple Music, Tidal, and on Bandcamp if you’d like to support the music more directly.
There’s a website too: holon.band—still a work in progress, but always open.
