This is the 5th EP from Newark, New Jersey musician Jane Remover. Known for pioneering the Dariacore microgenre, they made their breakout debut in the fall of 2021 with Frailty under deadAir Records & it wasn’t until exactly 24 months later when former BROCKHAMPTON leader Kevin Abstract called Jane Remover’s sophomore effort Census Designated his favorite album of that year where I personally got introduced to their music. Revengeseekerz came out in April to widespread acclaim, returning 8 months later with ♡.
“Magic I Want U” begins with an alternative R&B, glitch pop, breakbeat, Atlanta bass, alternative rock & digital cumbia loving the way this guy uses his hands & words whereas “So What?” was notably sampled throughout “All4U”, which was the stunning closer off Danny Brown’s latest album Stardust last month additionally interpolating their own singles “JRJRJR” & “Turn Up or Die” respectively.
To finish the 1st half, “Music Baby” contains probably the most repetitive songwriting structure throughout the entire extended play giving a fuck less of what people think of them while “Flash on the Pan” blends alternative R&B, emo rap, sexy drill, indie rock, shoegaze & dream pop basically remixing a cover they did of one of my personal favorite Britney Spears tracks “Hold It Against Me” back when I was in my final year of middle school.
“How to Teleport” starts the final moments of ♡with an extended version of a digital cumbia b-side to “Magic I Want U” pleading to not be awoken from this dream they’re experiencing because they can’t fall back in the fountain of youth again while the closer “Dream Sequence” & the b-side to “Flash in the Pan” covers “Aberdeen Dream Sequence”, which is widely considered to be the greatest slacker rock/slowcore singles that Jane Remover has ever made under the venturing moniker.
Serving as a prelude to their upcoming 4th album next year, Jane Remover compiles a brand new EP consisting of 3 covers & 3 newly recorded songs focusing more around alternative R&B as well as glitch pop & alt-pop as opposed to Revengeseekerz’ heavy digicore/EDM sound earlier this spring even if some of the material predates Jane’s biggest high in their career yet. The secondary influences within the production get shaken up in favor of alternative rock, breakbeat, sexy drill, east coast club, Atlanta bass, digital cumbia, emo rap, shoegaze & dream pop teasing another exciting artistic reinvention.
quannnic is a 19 year old singer/songwriter, producer & former rapper from Florida widely introducing themself in 2022 off their acclaimed full-length studio debut Kenopsia ditching the digicore sound they originally came up on because it felt like their attempt at that whole subgenre of trap music was creatively unnatural & an untitled EP experimenting with ambient trip hop merely months a part from each other. They would go on to sign with deadAir Records for the sophomore effort Stepdream matching the praise of it’s predecessor & has unveiled his 3rd album ahead of the supporting tour kicking off a couple weeks from now.
“Prunesnail” begins with a noisy grunge intro singing about the difficulty of trying to maintain a relationship with someone in their life who isn’t as close as they once were prior to the lead single “Wrenches” fusing noise rock, indie rock, grunge, emo & slacker rock to take on themes of self-deprecation.
The 3rd & final single “Aviator” seamlessly blends noise rock, post-punk, dream pop, gothic rock, post-punk revival & slacker rock feeling like there’s so many things they wish they didn’t care to do while the shoegazey “Scolder” sings about missing the times when their ex rebuked them.
“Torch” takes the halfway point to address an individual who they personally feel as if has lost their spark yet becoming surprised by the realization that they’re just like them leading into the shoegazing “Paperweight” singing about how they worked a miracle & finding nothing special regarding yet another victim of their own.
We have quannnic on the wombadelic “Heavensafe” venting that they’ve been contained in this ongoing war for the pearly gates while “Observer” combines noise rock, alternative metal, grunge, shoegaze, nu metal & post-rock to sing about sheeple stepping in to preach nothing but sounds as well as all of us winning only to lose something.
“Floorface” gets the clock started on Warbrained’s last 9 minutes by throwing it back to the days of ‘90s alternative rock with a small hint of grunge becoming delirious by the quiet depths becoming increasingly deadening & the piano-heavy “Wardeath” finishes the LP singing about considering themselves as more of a topic than a hero, yearning to hand out all of their importance.
deadAir Records has been on prolific run in 2025 constantly dropping digicore landmarks like the new Jane Remover album Revengeseekerz, & the new Lucy Bedroque mixtape Unmusique, but Warbrained carried the momentum with the darkest thing quannnic has ever made. Their production here focuses less around noise pop than Stepdream did couple years previously shifting it’s attention towards alt-rock, shoegaze, grunge, noise rock, Emo, alternative metal & slacker rock to compliment the depressive songwriting.
Lucy Bedroque is a 19 year old rapper, songwriter & producer from Los Angeles, California notable for rising above the ranks as one of if not THE biggest member of the lumina collective rather quickly & understandably so. His solo debut Sisterhood in the summer of 2023 has quickly become a digicore standout, following it up with the EPs Amy & the LP highly acclaimed Fête de la Vanille. As a prelude to Musique along with his next full-lengths Svelte Child & Vanilla, syxxru’s putting out his debut mixtape under deadAir Records.
I felt that “Speakers Never Learn” was a great self-produced digicore intro to the tape talking about turning into a demon when the night is young whereas “G6 Anthem” works in some rage undertones continuing the glitchcore vibes homaging G6s in a way I haven’t heard in a commanding way since Far East Movement did 15 years ago. “Ultraviolet” featuring prettifun co-produced by 9lives maintains a hypertrap route instrumentally suggesting you’re on crack if the hoe loves you while “2010 Justin Bieber” mentions Playboi Carti with the “N****s 25 with personas. Somethin’ called a job, you ain’t no vampire” line.
“SmackDown” takes it’s name after the Endeavor-owned TKO Group Holdings division’s Friday Night secondary flagship show on the USA Network further referencing their primary flagship show Monday Night RAW on Netflix favoring a cloudier approach leading into “Fenty Face” turning the rage back up talking about this chick who thinks he looks good. “Made in Italy” finds him boasting that he got all the lights on him striking poses while “Tout Naturel” blends hypertrap & digicore talking about being unnatural.
jackzebra joins Lucy during the cloudy “Finish Him” produced by thr6x referencing the Fatality gameplay feature during the Warner Bros.-owned Mortal Kombat series of fighting games showcasing Jack as one of the nicest in the Chinese hip hop scene currently prior to “Ouija” showing a glitchcore influence again talking about running drills whenever he’s on the mic. “I’m Impossible” gets back on the hypertrap tip making reference to Family Guy on the Fox Corporation’s flagship property while “Cara Mia” talks about being desperate for motion.
“Ignorant” switches it up with a pop rap joint displaying his recklessness while “1 of Us is Lying” industrially talks about a relationship built on cap. The title track mixes trap & EDM looking to break eardrums with his style while “Cat’s Eye” talks about it being too late for this woman who let him down to make it right. “Yes, You May” concludes Unmusique with a melodically atmospheric cut running at 116 seconds making that his response to a girl who wants to ruin his life.
This tape has been making a lot of noise this weekend with many saying that it’s cuts above the new ApolloRed1 album Midnight Blassic marking his debut for his cousin Carti’s increasingly popular Opium imprint & finally getting to hear it for myself, I’d have to agree. Lucy prominently takes on an experimentally rage direction in favor of making the digicore & cloud rap that made a name for himself secondary influences, throwing hints of electronic dance music as well as industrial hip hop & pop rap in with them.
Jane Remover is a 21 year old musician from Newark, New Jersey known for pioneering the Dariacore microgenre. They made their breakout debut in the fall of 2021 with Frailty under deadAir Records & it wasn’t until exactly 24 months later when former BROCKHAMPTON leader Kevin Abstract called Jane Remover’s sophomore effort Census Designated his favorite album of that year where I personally got introduced to their music. Continuing the bi-yearly release cycle, their 3rd album has finally arrived after high anticipation.
“Twice Removed” begins with this digicore intro explaining that 2022 feels like a million years ago to them by now & shit getting old to them so quickly whereas the EDM-driven “Psychoboost” featuring Danny Brown finds the 2 talking about both of them feeling as if they’re a part of each other. “Star People” blends hyperpop & trap so they can ask if you’re either their bestie or their enemy prior to the chaotically noisy “Experimental Skin” talking about seeing no evil.
Moving on from there, “angels in camo” returns for more of a digicore vibe trading names with demons & refusing to let the creeps win just before “Dreamflasher” takes the sound of the previous cut & meshing it with EDM asking God to save them since they’re so turnt at the current moment. “Turn Up or Die” brings a glitchier flare to the table giving this bitch a proper sendoff by blowing his head off while “Dancing with Your Eyes Closed” perfectly showcases fusing hyperpop, electropop, digicore, bass house, future bass, electro hop, electroclash, Dariacore & rage influences.
“Fadeoutz” talks about feeling the same affection the standard popstar receives & likening fast love to fast drugs while “Professional Vengeance” balances digicore & pop punk returning from California with a bag 10x the price of what they were sold. “Dark Night Castle” admits to feeling like they don’t deserve the business prior to the outstanding digicore, rage, experimental hip hop, industrial hip hop, dark plugg & emo rap closer “JRJRJR”.
There are artists in the digicore scene I’ve given props to like Bear1boss or che & Polo Perks no question, except Jane Remover reclaims the sound that made them popular on the occasion of presenting the most flawless listening experience I’ve had in 2025 as of right now & a landmark in that style. The glitchcore aesthetics get uniquely branched out to the likes of experimental hip hop, electronic dance music, rage, hyperpop, hard dance, bass house, industrial hip hop, hardcore EDM, dark plugg, emo rap, electropop, future bass, electro hop, electroclash & of course Dariacore seamlessly.
This is the 3rd mixtape from Los Angeles, California singer/songwriter, producer, YouTuber & rapper Quadeca. His earliest output including Work in Progress, Nostalgia for the Now, Bad Internet Rapper & Out of Order were all received negatively as was the full-length debut Voice Memos. The sophomore effort From Me to You proved to be decent & coming off his most beloved offering yet I Didn’t Mean to Haunt You, he’s taking us to the Scrapyard full of material that didn’t make the final version of it’s predecessor to simultaneously fulfill his contractual obligations with deadAir Records.
Experimental hip hop, emo rap, glitch hop, cloud rap, folktronica, art pop, digicore, slacker rock & glitch hop all culminate in the intro “Dustcutter” begging not to be left out in the cold to dry prior to “A La Carte” featuring brakence blending experimental hip hop, emo rap, bedroom pop, digicore, midwest emo, glitch pop, glitch hop, neo-psychedelia, alternative R&B, art pop & abstract hip hop talking about rather being in their heads instead of their partners’ beds.
“Pretty Privilege” brings more of a general trap vibe confused by the compliments he’s been receiving from a woman he initially felt was lying when she called him pretty & trying to get to the bottom of as to why she genuinely feels that way leading into “Easier” fusing art pop, folktronica, neo-psychedelia, bedroom pop, emo rap, ambient pop, bossa nova, alternative R&B, dream pop, chamber folk & glitch pop talking about being in love with a chick who doesn’t feel the same way.
Quadeca steps outside the box in terms of sound on “Even If I Tried” with an outstandingly calculated outro trying to stop himself whenever he’s not feeling like himself while “What’s It to Him?” vulnerably admits his desire to hide a little less & cry more pulling inspiration from bands like The Beatles & Queen to Weezer. We get a solid attempt at hyperpop during “U Don’t Know Me Like That” touching base regarding a relationship that didn’t last while “I Make It Look Effortless” goes back to his roots over a combination of experimental hip hop, glitch hop, digicore, Americana, deconstructed club, industrial hip hop & folktronica.
“Way Too Many Friends” made for an introspectively eclectic pop rap, boom bap, jazz rap, neo-psychedelia, glitch hop, cloud rap, trip hop & abstract hip hop song advising to stop having his bluff called if you wanna make amends with him followed by a repetitive hook while “Guess Who?” expands on the versatility balling experimental hip hop, hardcore hip hop, glitch hop, industrial hip hop, dark plugg, rage, trap metal, glitch hop, wonky, deconstructed club, digicore & beat bruxaria all in 1 to spit braggadocio.
Shoegaze makes itself a prominent influence in the 2 & a half minutes “Under My Skin” has to offer feeling paranoid while “Being Yourself” sees past another person trying to act like someone else & airs ‘em out on it right on the spot. Would be furthermore remised to leave out the instrumental breakdown outro. “U Tried That Thing Where Ur Human” sonically feels reminiscent of Björk talking about being fed up of getting treated as if he’s dirt while the “Guide Dog” delivers a 2 minute folk ballad about the love he has for his romantic interest.
“Texas Blue” featuring Kevin Abstract concludes the tape with my favorite collaboration of the 2 realizing they’ve been masking their emotions throughout the portrayed relationships they’re involved with crossing over Americana, pop & R&B while “perfectly cut scream” starts the deluxe run by running to his hip hop roots tackling the theme of self-confidence & simultaneously giving a giant “fuck you” to the crowd who dismissed his artistic potential entirely because of his earlier output. Most of which he even said himself was trash in the midst of the last album rollout.
What was the original 2nd half of “perfectly cut stream” spins off into the noisy experimental glitch hop cut “like me” boasting that nobody’s doing this on his level while the 80 second “123” talks about having everyone’s eyes on him after counting to 3. “mad at me” heads for a synthpop direction realizing the person he’s addressing doesn’t care if they’re wrong while “1 step program” fired back at an individual tryna take credit in his success. “lifespan” could most likely be my least favorite of the 7 outtakes here with my criticisms having little to do with the instrumental & more so in terms of the half-baked structuring, which carries itself onto the final bonus track “who i am”.
For a collection of I Didn’t Mean to Haunt You leftovers, it’s similar to what Kendrick Lamar did with untitled unmastered. & To Pimp a Butterfly in that the cutting room floor of a great concept album got an equally beloved life of it’s own. It’s themes are focused around the issues Gen Z are facing masterfully combining art pop, experimental hip hop, electronic, glitch pop, emo rap, folktronica, alternative R&B, glitch hop, neo-psychedelia, industrial hip hop, deconstructed club, cloud rap, digicore, slacker rock, bedroom pop, midwest emo, abstract hip hop, ambient pop, bossa nova, dream pop, chamber folk, hyperpop, Americana, pop rap, boom bap, jazz rap, trip hop, hardcore hip hop, dark plugg, rage, trap metal, wonky, beat bruxaria, shoegaze & synthpop.
Quadeca is a 22 year old singer/songwriter, producer, YouTuber & rapper from Los Angeles, California whose early mixtapes Work in Progress, Nostalgia for the Now, Bad Internet Rapper & Out of Order were all received negatively as was the full-length studio debut album Voice Memos. His sophomore effort From Me to You proved to be decent & looks to make a stylistic departure on his 3rd album albeit deadAir Records debut given the contrastingly high praise nearly every teaser has had across the spectrum.
“sorry4dying” desires for his loved ones to heal from his death over an instrumental built around art pop, neo-psychedelia, alternative R&B, ambient, cinematic classical, glitch pop, folktronica, experimental hip hop, indietronica, new age, post-rock, emo rap & deconstructed club whereas “tell me a joke” fuses art pop, folktronica, glitch pop, chamber pop, alternative R&B, ambient pop, post-industrial, progressive pop, post-rock, trip hop & midwest emo to humorously cope with his passing.
He soon enough finds himself in spiritual limbo on “don’t mind me” bringing experimental hip hop, art pop, alternative R&B & neo-psychedelia together to talk about his mother reasonably being unable to move from her son not being with her anymore digging up old photos & looking at his belongings as a way of seeking some sort of closer just before the folktronica inspired “picking up hands” revisits his childhood home as a ghost to discover the repercussions of his death has had on those he cares deeply for.
“Born Yesterday” was my favorite single expanding beyond folktronica in favor of art pop, glitch pop, emo rap, ambient pop, progressive pop, dream pop, indie folk, neo-psychedelia & psychedelic folk of the 2 talking about watching his friends & family suffer leading into “house settling” featuring Danny Brown after the “memories we lost in translation” interlude attempts to have his family join him in the afterlife through a carbon monoxide poisoning as a way of curing his loneliness in the afterlife.
We get a bit of a post-punk vibe on “Knots” talking about walking around with ties around his neck & chest l prior to the songwriting during the piano-heavy “fantasyworld” originating from a poem Quadeca wrote as a kid flashing back to a point in the story when he was still alive. “Fractions of Infinity” blends neo-psychedelia, art pop, gospel, dream pop, progressive pop, emo rap, experimental hip hop, choral, ambient pop, trip hop, alternative R&B & post-rock realizing it won’t be enough to emphasize how he feels until the closer “cassini’s division” becomes one with nothingness.
“song to go home to” starts the deluxe run suggesting the chances of him picking up this individual from their walk home could be the last while the ambient psychedelic folk single “spring summer fall” sings about looking across the house & the baby steps not taking so long. The atmospherically melancholic “Gone Gone” sings about disappearing without a trace but after the “knots” interlude, “i’m not ready for heaven” comes to that very realization over a guitar & an accordion. The final bonus track “new goodbye” reads off as more of a 45 second outro amending his initial farewell.
The self-awareness of Quadeca’s early material mostly being trash was a huge sign of I Didn’t Mean to Haunt You marking a turning point in his career & it does so with a conceptual artistic reinvention. His production embraces the sounds of art pop, folktronica, glitch pop, experimental hip hop, ambient pop, neo-psychedelia, emo rap, post-industrial, alternative R&B, chamber pop, ambient, cinematic classical, indietronica, new age, post-rock, deconstructed club, progressive pop, trip hop, midwest emo, dream pop, psychedelic folk, post-punk, gospel & choral with the lyrics portraying cohesive tale of purgatory.
Legends Will Never Die 