Hirons On Her Debut EP Future Perfect
- Josh Kitchen
- 14 minutes ago
- 5 min read
By: Josh Kitchen / November 7, 2025
Graphic designer and artist Jenny Hirons never planned to release the music she’d been quietly exploring in her personal life. Though she’s been playing piano since the age of six, her professional world has long revolved around how she sees — not hears — the world. As founder of Studio Hirons, a multidisciplinary creative agency specializing in art direction, illustration, and graphic design, she’s built a career around visual storytelling.
But like all great works of art, the most meaningful ones often emerge when life happens — whether they intend it or not. Thankfully for us, Hirons chose to share the tracks she’d been developing over the past several years under the moniker Hirons. The result is Future Perfect, a five-track EP of synth and sax-laden, ambient, and improvisational meditations anchored by her assured and emotive voice.
Future Perfect is a project about perseverance — moving through drastic life changes and facing a bleak, industrial world without surrendering to despair. Drawing inspiration from Brian Eno, Yellow Magic Orchestra, and even Rachmaninoff, Hirons delivers an astonishingly cohesive and expressive debut that demands attention. I spoke with her about the making of Future Perfect, the decision to release music she never planned to share, how her visual art background informs her sound, and letting yourself dream a little.
I am here with Jenny Hirons. Your new music project, Hirons — your EP, “Future Perfect” — is out today. I was reading about some of the influences you've mentioned before, and I was struck by the Japanese ambient influences and then the jazzy influences like Yellow Magic Orchestra. I couldn’t help but think about some of my favorites, like Hiroshi Yoshimura’s “Green” and “Kakashi by Yasuaki Shimizu. Talk to me about that element of this project.
I tend to work fairly intuitively — I’m not listening for technical precision as much as I’m synthesizing what I’m hearing. When it comes to influences, it’s less about direct imitation and more about absorbing what resonates. I think what appeals to me about those artists is how they play with pop sensibilities — slightly deconstructing them melodically — and their sound palettes. That combination really speaks to me.
You’re a visual artist, so I feel like that sensibility naturally feeds into your music. How does that come into the music-making process? Obviously, you’re thinking about things like album covers and videos, but when you’re actually writing and constructing songs, how does that influence come in?
One connection I recognize is that when I first began exploring songwriting, the songs were really dense — which I think is quite common. The thing that helped me “lock in” was starting simply and layering up from there. It’s similar to why I was drawn to graphic design. I actually studied illustration originally, but with illustration, you start from imagination and narrow down, whereas design begins with a starting point — a brief or problem to solve. That approach of building outward from a simple idea carries into how I make music.
You started playing piano at a young age and were influenced by Rachmaninoff. Your influences are so vast, and you can really hear that in the music — it feels like it’s made by someone who loves music deeply. You also seem to use production as a tool to tie everything together.
That’s very nice to hear. I’ve been playing piano since I was six, but before I started songwriting and releasing music, I very much identified as someone who loved discovering music. I always took pride in how eclectic my taste was — I sought out all kinds of sounds. I listen very intuitively, so I might love something “technically intelligent,” but also something that’s considered absolute crap, because it just depends on how it touches me emotionally. Music discovery has always felt like a way to connect with others, which is probably why my interests are so broad.
You have a record release show coming up this weekend. How are you going to translate these songs for the stage?
That was another challenge, but a really exciting one. I’d been working on these songs for years, so breaking them down to arrange them for a band breathed new life into them. I’ve never had my own band before — this is all fairly new for me. I’ve always played for myself but hadn’t done much songwriting until recently. Breaking the songs apart to rebuild them for live performance gave them a whole new dimension, and I’ve really enjoyed that. But yes, I’m also ready to start working on new music.
What are some of the ideas for where you go after “Future Perfect”? You’ve described this album as a breakup record and one about uncertainty. How do you move forward from that?
I think there’s still a lot of mileage to explore in the same world — the aesthetic and pop sensibilities I’ve been playing with. The album feels like a gateway to deeper exploration. Another idea that’s always been present is merging my songwriting process with the intuitive piano improvisation I’ve done for years. I sometimes overthink whether that should be separate, but I love the idea of combining them — it would feel like the most authentic expression of who I am.
I also imagine that the improvisational element of your live shows might spark new ideas.
Yeah, definitely. Because the set is short, we’ve built in little opportunities for improvisation. We don’t go too deep yet, but I’d love to. Those moments can lead to new ideas — whole new songs even. I love that possibility.
You've mentioned before that you didn’t plan to release these songs. Now it’s a full-fledged EP. What changed?
Well, I was exploring songwriting and naturally felt inclined to wrap up a body of work. I’d done a fair amount on my own, but my ex-partner — who was helping produce it — and I broke up. I had a few songs left unfinished, so I worked with Luke Temple, who’s also on Western Vinyl. He sent the record to Brian at the label, and Brian signed it. By that point, I was ready for people to hear it. I wanted to share it. I think I have a pretty healthy relationship to everything that’s happening — I’m blessed to make money through other work, which allows me to do this for fun, but also to see where it can go.
What keeps you going as an artist — visually and musically?
Do you mean when the world feels so depressing?
Partly yes— the EP sounds hopeful to me, grounded in reality but with sonic feelings of hope.
That’s an interesting question. I haven’t really started writing new songs yet — I’ve been a little uninspired — but I think it’s about protecting your time and your energy. You want to be part of the world, but also keep a healthy distance from it. Especially in Los Angeles, it’s easy to isolate completely, and I’ve done that at times too. It’s also about allowing yourself flights of fancy — not taking it too seriously. Let yourself get lost in the fantasy of what you’re creating.
Try to loosen your grip on the heaviness of the world and let yourself dream a little.
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