The Texas-based musician’s latest ambient-electronic work draws from his visual art practice, celebrating the beauty of decay and endurance.
The album arrived on Spotted Peccary Music with a concept lifted straight from Holmes’s fine art. For years he’s painted rusted farm machinery and weathered metal. The Sanctity of Rust translates that visual fascination into sound.
This is Holmes’s most piano-heavy record yet, stacked with Rhodes electric piano and analog hardware including a Korg MS20 and a restored Oberheim Matrix 12. Melodies fold into each other, creating a dense harmonic core that resists quick consumption. His long-standing influences—Jarre, Tangerine Dream, Richard Burmer—filter through, but the album’s identity stays tied to texture and corrosion.
Holmes put it directly: “I wanted to write an album that celebrates rust’s beauty and endurance, in the same way I celebrate rust in my fine art work.” The music doesn’t smooth over time’s abrasive effects. Gritty mechanical passages sit alongside introspective stretches, mirroring the unpredictable patina of oxidation.
It’s an album about the quiet dignity of aging. No nostalgia, just an honest look at how surfaces—and people—carry their history. Holmes treats rust as something earned, not something to hide.
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