The busy, street-facing room abandons the familiarity of previous loft-style home studio spaces. Being the first time he’s had rooms rather than an open-concept where everything is mixed together, Hirabayashi finds solace in the separation. 

“It’s sweet to have those physical boundaries. More boundaries have come into my space, which I think makes sense,” he says. “When you’re a kid there’s boundaries enforced by your household, but in your 20s to 30s you’re reacting against that, re-evaluating them, or starting something new.”

Several guitars–including his favourite pink Charvel–line the room, alongside a Prophet 6 synthesizer, a Yamaha keyboard, and a Nord piano tucked away in the crux of comfort in his jam space: his desk. “It’s the number one thing, which is pretty nerdy. I can take keyboards or guitars anywhere and set up, but I probably spend more time writing at the desk than I do making music sometimes. It’s the biggest factor anytime I’m wondering about moving somewhere,” says Hirabayashi.

While the music he makes as Jo Passed is layered in strident guitars and impactful synths, Hirabayashi’s feels anchored in a calm, orderly environment informing his audible journey. “There’s always that push and pull relationship in music. I’ll set up a nice environment, it’ll be beautiful, but then I’ll make scrawky, weird guitar noises.” 

Despite the environmental influence of recording his new album Away (out Jan. 23) in two studios and three homes over an eight-year period, Hirabayashi realizes, on a technical level, that physical space was not be-all end-all for his album.