Simonne Jones does not make music about the intersection of science and art. She is that intersection. She is a physician who earned her medical degree at St. George’s University, who has published HIV research in Science Magazine, performed molecular cloning on mutated HIV-1 cells at the Howard Hughes Medical Institute, and traveled to Ghana on a federal research grant to build an HIV awareness program from the ground up. She wrote, engineered, produced, and performed every note on her forthcoming debut album, weaving in the recorded frequencies of actual stars and structuring the entire record around the physiological arc of a human heartbeat. Her name is Simonne Jones, and her debut album Meiosis X arrives later this year.

Born in Hollywood, California, Jones showed exceptional promise early. She was picking out melodies on the piano by age three. By ten, she had taught herself to read music and was performing Chopin with an intensity unusual in a child. By fifteen, she had successfully petitioned the Los Angeles courts to homeschool herself so she could move faster. A year later, after a brief detour being signed to Elite Model Management, she enrolled at the University of Maryland, Baltimore County, where she pursued a double major in biomedical research and visual arts, with double minors in biology and art history, graduating cum laude with honors in 2008.

At UMBC, Jones worked at the Howard Hughes Medical Institute, conducting nuclear magnetic resonance imaging studies and performing molecular cloning on mutated HIV-1 cells in an effort to find a cure for the disease. That work led to a co-authored publication in Science Magazine and a grant-funded trip to Ghana, where she developed an HIV awareness program in the field. Then Berlin called.

In Berlin, Peaches became a catalyst. The iconoclast recognized something in Jones’ burgeoning talent and took her in as a protégé, teaching her to be autonomous, to write her own songs, play every part, engineer her own sessions, and embrace electronic instrumentation without apology.

Berlin gave her the conditions to explode. She beat out ten thousand applicants for a place at the Red Bull Music Academy in New York in 2013. She was invited to compose and perform as a soloist with the 350-piece ORSO Philharmonic Orchestra and Choir in Freiburg. She scored and starred in the celebrated production of Jedermann at the Salzburg Festival, playing Death, no less, then toured the role through China’s Grand Theater in Tianjin, the Kurtheater Baden in Switzerland, the Theater Duisburg, and a three-year residency at the Thalia Theater in Hamburg. She completed a six-month artist residency at Platoon Kunsthalle, where she built motion-activated, MIDI-controlled LED paintings exploring quantum mechanics and cosmology. She headlined solo tours through Italy. She opened for Jared Leto and Thirty Seconds to Mars. Jean-Michel Jarre selected her to travel with the indigenous Guaraní people in the Brazilian Amazon for a UNESCO documentary, an experience immortalized in Soundhunters. The field recordings she made there were transformed into her signature “Battery of Sounds” drum kit, released commercially by Native Instruments and adopted by producers worldwide.

In the studio, Jones has worked alongside Jimmy Harry (Madonna, Pink), Sneaker Pimps co-founder and producer Liam Howe (Lana Del Rey, FKA Twigs, Marina), Sacha Skarbek (Adele, Lana Del Rey, Miley Cyrus), David Kosten (Bat for Lashes, Keane), Kid Harpoon (Harry Styles, Florence and the Machine), Daniel Nigro (Ariana Grande, Chapel Roan), and Grammy-winner Doc McKinney (The Weeknd, Drake, Florence and the Machine). A production run for German superstar Rea Garvey yielded six gold-certified records across Germany, Switzerland, and Austria, with over 100 million cumulative streams. In 2016 she used real gravitational wave audio from LIGO and collaborated with CERN to build a composition from particle collision data at the Large Hadron Collider. She sourced actual star frequencies recorded by a UK observatory and built them into her production palette. “I wanted the music to literally carry the physics of the universe inside it,” she has said. In 2021, her years-long creative partnership with Liam Howe deepened into something historic: she became the featured vocalist on Sneaker Pimps’ first album in nearly twenty years, Squaring the Circle. Alongside all of this, Jones co-authored the book Think Beyond: On Music, Science and the Pursuit of Limitless Human Potential, and has lectured at the Blue Dot Festival at Jodrell Bank Observatory, the Make Sound Festival in Leicester, and conferences across Europe and the US.

All of it, every lab, every stage, every jungle, has been converging on one record.

Meiosis X, Jones’ debut album, releases later this year. Named after the cellular process of division and multiplication, in which one organism becomes the origin point for something entirely new, the album is a meticulous and deeply personal statement. It distills over 500 unreleased compositions into a single cohesive body of work: dark electro-pop that is cinematic without being cold, experimental without surrendering the hook, and intimate in a way that feels almost dangerous. It is the sound of a self-contained artist who writes every lyric, plays every instrument, engineers every session, and has spent years refusing to release anything until it was exactly right.

She is not abandoning medicine for art. She is expanding the definition of both. Meiosis X is the sound of everything dividing, multiplying, and finally arriving.