While “boundary-pushing” is a term many artists describe themselves as, very few actually are. If you’ve listened to her music, you would know that Jane Remover is certainly one of the few. Across an impressively large eleven-project discography, Jane has achieved a range of sounds more vast than most artists could dream of cultivating across a full career, with projects ranging from glitch-pop to shoegaze — all over a shockingly short five-year time frame.
It didn’t take her long to start challenging listeners, either. In 2021, at only seventeen years old, Jane kicked off her career with the release of Dariacore, an attention-grabbing SoundCloud mixtape heavily inspired by the hyperpop-wave of the pandemic. While Dariacore remained in the larger scope of the hyperpop movement, its spontaneous creativity made it nearly impossible to pin to a single genre. At blistering BPMs, glitchy breakcore percussion and an endless array of pop-culture samples all intertwined to create an amalgamation of controlled chaos. Anything could be sampled: cartoons, internet memes, political speeches, car crashes — all chopped and pitch-shifted until they created entirely new melodies of their own. This complete lack of limits encouraged other contemporaries in the underground to follow suit, releasing their own songs in the same vein and creating a subculture of endless remixing that bound the artists together as a community.
As the eponymous microgenre grew, Jane continued to release these Dariacore projects on SoundCloud under the alias “Leroy”, as well as multiple full-length releases under her new name, Jane Remover. But none of these projects, as inventive as they were, create an experience as electrifying as her most recent full-length release — Revengeseekerz. Inspired by Playboi Carti’s Whole Lotta Red and its unavoidable rage movement, Revengeseekerz takes the booming 808s and distorted arpeggios seen in the beats of new-age rappers like Osamason and Che, and seamlessly blends them with her signature sampling techniques and just about every genre of EDM you can imagine. While I often find myself disappointed by the repetitive, mind-numbing nature of this rage movement, Jane Remover takes the distorted, addicting soundscape that I do enjoy and cures the genre of its common tediousness. No song grows stale; the production winds between genres and energy levels so frequently that you’re not given a chance to be bored if you can tell what’s happening. The sound of the album is impressively unrelenting — no synth or sound effect can escape the ruthless bitcrushing of Jane’s computer, and yet the results are still mixed and compiled so well that the acid-bathed production works.
However, as much as I love the brain-breaking, genre-bending nature of her music, I’m aware it’s not for everyone. The abrasive qualities of the production and much of her strained, autotuned vocals can be a bit off-putting at first. But for those with a fondness for the extreme, for the kind of music that pushes boundaries and evades labels, Revengeseekerz serves as an enthralling soundtrack for the chronically online and cements Jane Remover as one of the most impressive pioneers in the music industry today.
