Hi everyone. Plainthony Jane tano here, the internet's busiest music nerd. It's time for a review of this new Jane Remover album, Revengeseekerz.

Here we have a brand new LP from prolific producer, singer, rapper, songwriter, multi-instrumentalist, Jane Remover. Who is back with their first record under this name since 2023's Census Designated.

But it was just a few months ago that I was talking about Jane's music on this channel, again, already under their venturing project, as that had released a pretty good record named Ghostholding, which was more of a fuzzy lofi slacker rock affair. There were a lot of strong tunes on that record, whose melodies really shown through the muddy production. This record actually shared quite a bit in common stylistically with that Census Designated album I was referring to earlier, as they are two very rock-centric projects, though Census's production, by comparison, was much more dense intense and abrasive, really leaning into the noise pop and noise rock leanings of Jane's previous record, Frailty, which was originally released under a different name at the time.

I know right now in this review, I'm hitting you with a lot of information up front and talking about a lot of different projects under different creative names, just like I should with any artist. But I want to sidebar here for a second, just say how difficult this is to do in the case of Jane Remover, because all the records I'm talking about in this video, creatively, are so different that they could have easily come from different artists.

And in a way they have, because in several short years, Jane has undergone a lot of rapid change, both personally and artistically, going from a niche experimental electronic music producer to a left field pop icon for the terminally online. Even more recently, they've toured with JPEGMAFIA. They have Danny Brown as a feature on this record, too.

Back to Census Designated, though, which, like I said, was another helping in Jane's catalog of noise pop and rock, but also a lot of shades of shoegaze music and emo within the songwriting and instrumental layers on this thing. Some pretty impressive and massive buildups along the run times of these songs, too. The majority of tracks on this record were also shrouded in a sound that, to me, was maybe just a bit too punishing for the length of the album, which made the music very difficult to love, even if I could see the merit in the writing behind all of the noise.

I came away from that project respecting it, but very much preferring its predecessor, Frailty, for how palatable and versatile it was, even if on some level it didn't feel as epic or ambitious. Regardless of what the reception of that album was going to be, it seems like there was always going to be some question for Jane as to what to do next on the follow-up record. As we are talking about an artist here who has released music under like a dozen different names in one capacity or another.

Over the last year or so, Jane has put out a few surprise singles, tracks like "Magic I Want You" as well as "Flash in the Pan", two cuts that, for their standards, are pretty pop-centric. Apparently, these tracks were created in the process of making the eventual follow-up to Census Designated, though I guess in this particular instance, that potentially poppier venture is not seeing the light of day, as I guess it's not done or it's just not the right time to release it.

Whatever Jane's motivations are, Revengeseekerz is the record that we've gotten this time around. And releasing a record like this would be a bold move for any artist, honestly. Even if the direction here may be a somewhat familiar one for long-time fans or listeners who have taken the time to dig far into Jane's back catalog to uncover their various excursions into trap and glitch, pop rap as well as digicore, or even Daria-core, plus tons of very niche and quirky shades of club music.

But yeah, Revengeseekerz here is really Jane's highly explosive return to all of that. Keep in mind on this record, we are not just getting Jane Remover the contemplative songwriter and home producer here. Really more what we're getting is Jane the DJ, rapper and pop hook alchemist, with most of the tracks on this record giving nods to industrial hip hop, rage, as well as hard style, just to name a few more reference points. There's just so much going on in the finer and very chaotic details of this record that it's hard to make accurate note of it all in a review because almost every track on this thing features dozens upon dozens upon dozens of instruments and stems and effects, which puts Jane creatively on this record in the midst of a very difficult balancing act of overloading all of these tracks with as much as they can pack into them for this hyper maximal impact.

But simultaneously, it's clear that Jane is writing some of their most catchy and pop-centric songs to date, and if the tracks are too messy or are eligible, none of that is going to translate.

Take, for example, the first full burst of instrumentation on the opening track, "Twice Removed". It's just an onslaught of booming 808s, stuttering synths, autotune lead vocals, glitchy noises, skittering percussion sounds, various sound effects and samples flying in every direction. This all matches the attitude behind the songs, too. As throughout this record, Jane does make numerous references to turning up, going crazy, partying, dancing.

As far as their pen game is concerned, the swagger is turned up to 11, with numerous bars that take a very righteous or braggy or outlandish approach:"Shit was 03. 03 Bitch, I'm Avril Lavigne." I feel like Jane also dropped statements of intent on on this track, too, mentioning that they're "cloning out," which is not the only reference to there being multiples of them, which leads me to feel like you have all these sides to your creative voice, and are you becoming a different person, a different individual every time you change your direction or sound.

But yeah, this is a pretty fiery start to the record, to say the least. Jane, throughout the rest of this album, just continues to find different ways to be firing on all cylinders, like with the insane Danny feature on the following track, "Psychoboost", which features all of these high propulsive dance beats. It just feels like I'm listening to demented noise house or techno. Eventually, the track reaches hard style levels of aggression and distortion. I also love that Danny Brown comes back around on the track lyrically twice.

The following "Star People" is another riotous moment. In an interview, Jane described this track as being influenced by jerk music, which sure, in the claps and bass and flows, I can hear that influence. But simultaneously, this track is just loaded in so many cacophonous sounds and layers that all of the rhythmic gaps in space that would typically define that genre of music are erased, which is obviously intentional on a record as dense as this one. I'm just saying it feels like a very, very, I guess, industrial and experimental take on the style. But I think the most miraculous thing about the song, though, is the way that it clears the way for much more beautiful melodic vocals and guitar lines in the second half, showing that even a record as crazy as this one can have a softer side.

"Experimental Skin" is another one of the catchiest tracks here. More bars on this track with Jane referring to themselves as a shapeshifter of sorts. But yeah, pretty much what we have here is just a no-muss, no-fuss, straightforward pop tune, but you have to accept it on its own, very noisy and abrasive terms if you're going to like it. There's also a great build up toward an amazing finale on this track that just features some really undeniable dance beats.

As if this record wasn't over the top enough, after this, we hit a run of tracks that really make things even spicier. These cuts feel like taking a shower in a hot lava waterfall. "Angels in Camo" is this glitched out piece of hypertrap with loads of bars about keeping creeps at bay. Angels protecting you and then also praying for the downfall of your enemies. There's most definitely a spirituality to this track, but also it's just so wild and outlandish like anything else here, especially with bars like "Jesus never had it with a freak bitch."

Following this, we have "Dreamflasher", which lyrically sees Jane really reveling in the success they've made off of their music, people screaming their name and the crowd – also romantically indulging with individuals who are just into you because of who you are, with lines like, "Don't know if he loves me, but he loves me right now." This is an ongoing paradigm within a lot of Jane's music these days, reflecting on their fame, the upsides to it, the downsides. This is a track that is not really expressing much skepticism about any of it. More, it's really just leaning into it headfirst, pulling everything out of it that they can. But in the greater context of this record, it is clear that this behavior is leading to some personal boom and bust cycles, some really blissful highs that lead to some depressing lows.

"Turn Up or Die" is a track that very much lives up to its title. It starts with all these driving, distorted kicks, more allusions to hard style music. Later in the track, we have passages with all these distorted bass licks that feel akin to a dubstep drop. I'm just loving how many touches of EDM there are throughout this record, but the songs and progressions on this thing rage like a rock album. I'm just liking that combination of ethoses.

After this, we the even poppier "Dancing With Your Eyes Closed", which features all these squishy, danceable, electropop grooves. In a way, creatively, it feels like a residual from the dying days of MySpace, musically, but also reaches some very aggressive and chaotic peaks with more dense production. What also sounds like, in the mix, just all out screams. The deeper lyrics on the track beyond the hook, like "promise I like it like that," explain why, as much of the track seems to detail this very doomed connection.

The song "Fadeoutz" is another highlight for me, a track that I feel like really showcases the versatility of this record. As sonically, it still feels like taking an acid bath on some level, but simultaneously, Jane still finds a way to turn this sound into something that feels like a bit more of an emotional moment as the guitar lines and vocal melodies take a somewhat softer approach. A lot of the lyrics on this track detail Jane at this moment where they're falling apart.

Following this, we have "Professional Vengeance", which is like Jane's own take on a quirky teeny bopper hit. It's maybe the most accessible song on the record as the hooks don't really have a whole lot of noisiness in the mix to fight with. It really feels like I'm listening to a Disney pop rock tune, but just rolled in flour and then encrusted in a hundred different video game sounds and then deep fried in the FL Studio multitrack.

Following this, "Dark Night Castle" is easily the moodiest moment on the entire record, and instrumentally sees Jane embracing some string layers and stumbling piano lines that are entrancing. We catch a pretty emotionally potent performance behind all the autotune. I do wish the vocals were a bit more raw on this one, as they wouldn't be the only moment where the singing or rapping has a bit more of a bear approach. I think that could have been more fitting here. But still, with that being said, this track does make for a touching moment on the album, and it just continues to be impressive how much command Jane has of this very chaotic, over-the-top sound that I feel like most artists playing with it or dealing in something along these lines would really only be able to mess with it in one way or employ it in a way where it only elicits one emotional response.

Following this, we have the closing track "JRJRJR", which, yes, is the finisher, but was also the first single to the album, and an explosive one at that. I appreciate it being placed at the very end of the record here because post-"Dark Night Castle", it feels like a credits roll moment now. Again, we very much have Jane again on this track, really meditating on the state of their life at this point, and the chaos, and the ups and downs, and everything on that front in it, I think, is being reflected in the instrumentation.

I mean, really, I feel like this track spells that out in the clearest but also most exciting way. Again, all of the highs and lows and super rapid changes Jane has been undergoing at this point in their career, which I think is really fitting, considering the era of music that Jane's popularity was born out of. Because in the early '20s, you did have a lot of artists on the come up who were creating these mutant forms of mainstream pop and rap and electronic music. In the underground, all these genres were taking shape in very interesting and odd ways. Some artists had a moment that continued, some didn't. Some artists stuck with their trademark sound, others moved on and experimented.

Meanwhile, Jane, what I feel they're doing here is giving us what is the logical conclusion to all of that very maximal, terminally online pop, rap, and electronic music that we've been seeing just the rise of over the past five years. They're really pushing it to its limits on this record in ways that are creative, exciting, anthemic, catchy, and sometimes even accessible.

But yeah, really loving this record, super impressed with it. Jane truly has shown themselves to have their finger on the pulse with this record and be ahead of the curve in a lot of ways. Yeah, there are some moments on the album where maybe it is a bit much, difficult to digest, but those moments would be a lot more plentiful if it weren't for the fact that Jane is just such a skilled producer, songwriter, and creator at this point, as not only do the songs consistently shine through all the chaos on these tracks, but the chaos, I would say, actually defines these songs, too, and the songs benefit from all of it. Which leads me to say I'm feeling a light to decent 9 on this album.

Anthony Fantano, Jane Remover, Forever.