‘Dreamflasher,’ the sixth track on 22-year-old rapper/singer/producer Jane Remover’s third studio album, Revengeseekerz, begins with the satisfying whistle that plays when you cross the finish line in Mariokart DS. The listener is then bombarded with an onslaught of noise, including a sample of their own 2024 track ‘Flash in the Pan,’ that sounds like Remover stacked as many instrumentals as possible on top of each other to create a beat that feels like a nuclear bomb equipped with 12 subwoofers all playing Lil Wayne’s ‘A Milli’ at full volume hitting you squarely on the top of the head. It’s maybe the most exhilarating musical experience I have ever had, and I absolutely adore it.
Jane Remover is consistently difficult to pin down. In the four years they have been creating music, under the aliases venturing & leroy as well as Jane Remover, they have hesitated to stay with one genre for too long. They burst into popularity online with an emotional and vulnerable strand of hyperpop and EDM on 2021’s Frailty, journeyed into rock (2025’s Ghostholding) & shoegaze (2023’s Census Designated), and even tried their hand at left-field pop on last year’s critically beloved single ‘Magic I Want U.’ Through it all though, they always remain true to themselves.
Their influences on Revengeseekerz are far-flung, and yet the album impressively manages to meld them into something entirely distinct. The sounds of rage icons such as Playboi Carti and Yeat are immediately obvious in the overwhelmingly loud productions, and style-over-substance lyricism. On top of that though, they channel 2000s pop icons, despite reportedly axing a pop album they had been working on because they did not want to turn into “a main pop girl.” She compares herself to “03 Avril Lavigne” on trippy, yet somewhat messy opener, ‘TWICE REMOVED,’ whilst the music video for Miley Cyrus’ ‘Wrecking Ball’ is projected behind her as she dances through a church in the video for ‘angels in camo.’ This unique blend of chronically online trap & pop creates a sound best described as melodic rage; incredibly catchy, autotuned earworms over bass-boosted, packed to the brim beats that make you wonder “if music always had the capacity to sound like this, how come no one has made it before?”
Track seven, ‘TURN UP OR DIE,’ captures this combination with near perfection. The instrumental looms up on you like an attacker in a dark alley, with an eerie bass tone that sounds like the opening of a horror movie theme, before opening up into a thrilling, bouncy dance beat, intermittently broken by glass smashing sound effects (a favourite of theirs that appears on practically every song), electronic beeps, and a supernatural “doo-doooo-doo” sound that I can easily imagine a UFO making in a sci-fi TV show. On top of this somehow successful mishmash of random, yet perfectly placed sounds, Remover delivers one of the most captivating vocal performances on the record; the flow of their rapping on the verses is on point, and the chorus wouldn’t sound out of place on a Charli xcx song.
Another highlight is ‘Dancing with your eyes closed,’ the album’s second single. It still features the glitchy, bombastic production which makes up the rest of the album, but combined with a catchy chorus and great outro, we are presented with a song that is a bit more digestible to the average listener, proven by the fact that this is Remover’s biggest song to date, garnering over a million views on YouTube.
There are few moments where the experiment fails, but those failures stand out in stark contrast to the album’s otherwise consistent quality. ‘TWICE REMOVED’s’ melody is stiff and hard to get into, and the instrumental, whilst partly psychedelic, isn’t interesting enough to make up for it. On top of that, the song ends with essentially a wall of noise that lacks texture and feels lazy. ‘Dark night castle’ is the least memorable on the tracklist, although I do appreciate that it contains elements of all their albums as Jane Remover; the piano and slightly overdone autotune reminds me a lot of some songs on Frailty, the subtle guitar riff in the background is Census Designated-esque, and the electronic breakdown in the outro is of course in line with the rest of Revengeseekerz. However, the song’s slower, more melody-driven style is out of place with the rest of the tracklist, and it sticks out like a sore thumb.
For the most part though, over its 49 minutes, Revengeseekerz is an intense, constantly engaging listen. You’re barely given a break, and you never want to take one. The most intoxicating and invigorating tracks, such as ‘angels in camo’ and ‘Experimental Skin,’ feel like getting curb stomped by a demon clad in all-black leather, whilst it covers you in gasoline and lights you on fire, but you come out the other side wanting it to happen over and over and over. Every song oozes with earned confidence, as Jane Remover crafts a world where you can hear every song that anyone in the world is listening to all at once, and everyone just so happens to be listening to one of the most exciting and forward-thinking producers in music.
Jane Remover: Revengeseekerz – Released 4 April 2025 (deadAir)
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