Jane Remover released their third studio album, “Revengeseekerz,” on Fri., April 4. The maximalist electronic album features 12 intense tracks that greatly exceed the production quality and aesthetic style of their previous releases. Remover has been on a solid run this year after releasing the album “Ghostholding” under the alias “Venturing” in February and a standalone single called “Flash in the Pan.”
“Revengeseekerz” is best categorized as a “digicore” rage rap album, showcasing Remover’s impressive rap and production skills. The album marks a significant shift from their 2023 album, “Census Designated,” which was an intimate blend of shoegaze and bedroom pop, and their 2021 hyperpop album “Frailty.” Remover wrote, recorded, mixed and mastered the entire album themself.
At 21 years old, Remover hails from Newark, N.J., and has been producing music since 2011. Initially focused on electronic music, Remover has since shifted toward a hyperpop and trap-centric style in their recent releases.
Remover initially gained popularity through SoundCloud releases under the aliases “Leroy” and “dltzk,” with their early work playing a crucial role in the growth of the hyperpop genre during the quarantine era. In 2022, they rebranded as Jane Remover, marking a new chapter in their musical journey, though their earlier work remains a key influence in the resurgence of electronic music in the 2020s.
“Revengeseekerz” is packed with intricate build-ups, powerful rage rap, explosive samples and relentless bass drops, with nearly every track on the album featuring multiple climactic moments. Remover truly demonstrates their range on this album, which feels nearly perfectly composed despite its slightly overwhelming production.
The album opens with a sound, reminiscent of a video game loading, that introduces the first track, “TWICE REMOVED.” A winding synth leads into Remover’s confident, filtered delivery, quickly interrupted by a signature bass blast and an explosive wave of sound effects that resemble a video game. The song builds up to an intense bass drop, culminating in a chaotic array of sounds.
“Psychoboost feat. Danny Brown” opens with a hypnotizing beat that quickly evolves into a dubstep-style grinding bass, complemented by the iconic adlibs of the American rapper Danny Brown. Brown’s verses mesh seamlessly with Remover’s new delivery style, making this track the perfect hype anthem. With countless bass drops that only intensify as the song progresses, it stands out as one of the album’s strongest tracks.
A retro arpeggiated synth and Remover’s edited voice introduce the fifth track on the album, “angels in camo.” The bass on the track elevates Remover’s powerful delivery. Remover’s new flair shines on this track as well, showcasing their raw and angsty rap style.
“TURN UP OR DIE” features a hypnotizing beat throughout the song with countless atmospheric techno samples. This track is one of the more maximal tracks on the album through Remover’s exhaustive use of sampling and various sounds. While it may feel overwhelming at times, the track’s maximalist nature is both fun and rewarding, as it pulls the song together.
The album concludes with “JRJRJR,” a track previously released as a single in January. It begins with an insanely fast, automated voice repeating “JR” and a booming bass. The song’s chaotic nature is balanced by the chorus, which offers brief drops in energy. “JRJRJR” serves as Remover’s anthem, bringing the album to a powerful conclusion.
“Revengerseekers” marks a turning point in Remover’s career, signaling a shift away from their legacy in TikTok hyperpop and toward a more universally embraced rap style. This next step in their musical evolution highlights Remover’s versatility as an artist, reflecting their ability to release standout projects across various genres within the past four years.
Remover will start their month-long spring U.S. “Turn Up or Die” tour later this month. It will be their first headlining tour, and they will be accompanied by dazegxd, d0llywood1 and Lucy Bedroque.
Crissy Saucier can be reached at [email protected].
