Change is built into the DNA of contemporary music, but few artists have shapeshifted as radically as Jane Remover. Emerging from the internet’s hyperconnected underground, they first made their mark with the debut album “Frailty” (2021), a restless, emotionally charged collage where glitchy electronics, emo confessionals and hyperpop textures collided into something both chaotic and strangely tender. Two years later, “Census Designated” (2023) revealed a different temperature altogether: hushed, shoegaze-adjacent, and steeped in bedroom-pop introspection, as if the same artist had stepped into a quieter room without ever fully leaving the noise behind. In the lead-up to their most recent chapter, Jane Remover released the comparatively direct singles “Magic I Want U” and “Flash in the Pan” (2024), flashes of immediacy that in hindsight feel almost like a calm before the storm. That storm arrives with “Revengeseekerz” (2025), a record that feels less like a shift in style and more like a full-system overload. Here, Jane Remover embraces maximalism with a kind of ecstatic impatience, fusing hyperpop, EDM, techno, hardstyle and fractured hip-hop into tracks that move at breakneck speed, like an overclocked DJ trying to transmit as much feeling, data and distortion as possible in as little time as possible. It’s music that thrives on excess, futurism and volatility, yet remains anchored by a singular artistic vision—one that positions Jane Remover as both pioneer and avant-garde outlier within a generation defined by constant mutation. This summer, that radical energy lands at Way Out West.