Jane Remover, the producer who keeps deleting old selves to make the next record

Jane Remover

Photo: Revisionistgoodbye / CC BY 4.0, via Wikimedia Commons

Born	September 26, 2003 New Jersey
Occupation	Musician

Jane Remover has a habit of deleting the person who made the last record. A stage name gets retired with a short statement, an EP loses four of its songs after the fact, a finished album of eighteen tracks goes in the bin, a surprise mixtape stays online for roughly two hours and then vanishes. The chosen name reads almost like a confession. The erasing has never slowed the output, though: every abandoned version of this New Jersey producer has left behind music that the next version had to answer, and the catalogue keeps branching into side projects with their own names and their own followings. The open question around Remover now concerns which of these selves gets to make the next album, and whether that album will be allowed to stay online.

Remover and a twin sister were born in Newark on September 26, 2003, to an immigrant father, and the family moved to Clark, in Union County, around 2011. As a child Remover wanted to chase storms, or at least forecast them, and spent long afternoons on Mario Kart. Music arrived through dubstep. Before turning ten they were building tracks inspired by Skrillex, Kill the Noise and Virtual Riot, and they would later name Porter Robinson as their biggest influence. By 2018 the beats had moved toward trap, shaped by Trippie Redd, Earl Sweatshirt and Tyler, the Creator, and Remover was producing for other artists inside SoundCloud collectives such as PlanetZero and Graveem1nd.

Late in 2019, still a student at Arthur L. Johnson High School, they began releasing their own songs on SoundCloud. A track called What’s My Age Again? spread on Twitter, and the debut EP Teen Week, released in February 2021 under the name dltzk, turned adolescence into compressed, glitching pop; its song Homeswitcher, with Kmoe, passed 100,000 SoundCloud plays in its first two weeks. In parallel, under the alias Leroy, Remover was stitching together frantic mashups of 2010s pop hits and viral clips, released as Dariacore with screenshots of the cartoon Daria as cover art. The joke named a microgenre. Raphael Helfand of The Fader described the style as “taking hyperpop’s silliest tendencies to their logical conclusions,” and a wave of imitators followed.

Frailty, the first album, came out through DeadAir Records in November 2021. Recorded in a childhood bedroom in New Jersey, it pushed digicore, emo, hyperpop and EDM into a single coming-of-age record, and it landed at number 47 on Pitchfork’s list of the year’s best albums. The Fader called its author “the face of digicore.” Remover enrolled at The College of New Jersey and lasted one semester before leaving to make music full-time.

The first public erasure came in June 2022. Remover retired dltzk, saying the name “has never sat right with me” and that it recalled “a period of my life I’d like to move past,” came out as transgender and began releasing music as Jane Remover. Teen Week was later abridged, with four songs removed, because its author no longer felt comfortable with the project as first released. Leroy was buried the same month with a DJ mix called leroy & dltzk Memorial Service. That winter Remover opened for Brakence on the Hypochondriac tour, and in 2023 began a monthly residency on NTS Radio that ran until the end of 2024.

Census Designated, released in October 2023, sounded like a different artist. Its trigger was a near-death experience: driving across the country toward Seattle late at night, Remover was caught in a blizzard and forced to stop in John Day, Oregon, an episode they later called a “reality check.” The album that grew out of it is a shoegaze and post-rock concept record set over a single night, Auto-Tuned vocals buried under walls of guitar, recorded at home in New Jersey and at Studio North in Philadelphia and produced, like everything released under the Jane Remover name, by Remover alone. Pitchfork’s review compared it to Ethel Cain, My Bloody Valentine, Slowdive and yeule, and Quadeca directed the video for the title track. A co-headlining tour with labelmate Quannnic followed in early 2024.

Then the third album fell apart. Through the summer of 2024 Remover recorded an 18-track record around the singles Flash in the Pan and Magic I Want U, and scrapped it, as they later told Billboard. The reset came on the road, opening for JPEGMafia on the Lay Down My Life tour, and on the return home, where an unpaid power bill had left maggots in the refrigerator and Remover spent a week sleeping on friends’ couches. The first song finished afterwards, JRJRJR, became the lead single of Revengeseekerz, released in April 2025: a dense, sample-stuffed return to digicore with rage, house and hyperpop folded in, titled after Kill Bill: Volume 1 and featuring Danny Brown. Pitchfork gave it 8.0. Remover took it out on Turn Up or Die, their first tour as sole headliner, played Fuji Rock and Lollapalooza, and spent September and October 2025 opening for Turnstile on the Never Enough Tour.

The strongest case against Remover is one their own catalogue keeps making. Even admiring reviews circled the excess; Paste’s headline said Remover “crashes out in excess” on Revengeseekerz, an album whose layers of samples often quote earlier Jane Remover songs and can play like a closed loop for listeners who already know every reference. Remover has admitted feeling conflicted about the vocals on Frailty after criticism of its recording quality, and the steady revising, abridging and deleting of finished work raises a fair question about what any single release is meant to be: a statement, or a draft with a streaming link. There is also a gap between online stature and reach. The album that drew the widest praise of their career peaked at number 65 on the North American college radio chart. The audience that follows every alias is fierce, but it remains a devoted niche rather than a mass one.

Venturing is where the guitars live now. The alias began as a fictional indie rock band, and its album Ghostholding arrived in February 2025, two months before Revengeseekerz and made in the same stretch of work. In August 2025 a 17-track mixtape titled Indie rock appeared on an anonymous SoundCloud account and was taken down about two hours later. December brought another swerve: Heart, a surprise six-track EP of pop, R&B and reggaeton-tinged songs that gathered the four 2024 singles rescued from the scrapped album. Pitchfork rated it 7.6, and Paste placed it fifth among the year’s best EPs.

Remover has been precise about identity without turning it into a brand. In 2024 they said they had no pronoun preference; in 2025 they described themselves as non-binary and told NME: “I’m not not trans, but I’m not a trans woman.” They have also taken public positions. Remover joined No Music for Genocide, the musician-led boycott that pulls catalogues from Israeli streaming services, and in August 2026 said on Instagram that they would not play Phoenix’s M3F Festival unless the Israeli band Temper City was taken off the bill. In September the festival published an updated lineup without Remover, with Flying Lotus in their place.

This year has been crowded even by their standards. Venturing released the single In the Dark in February, Remover played Coachella on April 12, and Leroy came back for Status Update Music on May 14, five years to the day after Dariacore. The three-song Venturing EP Nowhere followed at the end of July. The Live Exhibit Tour with Dazegxd, which opened in New York on June 4, reaches its final date in Seattle on October 7.

No fourth Jane Remover album has been announced. Given the history, the next one may already exist in two or three discarded versions, and whatever survives will arrive under whichever name its author can still stand behind.