As long as she can remember, Jane Remover has strived for autonomy as much as possible. The nineteen-year-old songwriter is an omnivorous listener that produces everything herself. She has been lauded by fans and writers alike, for accidentally creating entire genres in the wake of her prolific two-year run. Her debut album Frailty was written amidst the purgatorial summer after graduating high school. The lyrics on Frailty are a wayward coming-of-age diary of a queer teenager stuck in the suburbs of a confusing, socio-politically turbulent America. Her words sting, but are shrouded in meticulous production; a sui generis vein of DIY rock. Simultaneously, it’s steeped in the lo-bit, nostalgic synths that soundtrack a final glimpse of younger memories. The LP was warmly received with Album of the Year list placements from Pitchfork and TheNeedleDrop, glowing reception from Paste, Insider and FADER, and a widespread resonance from a young audience who consider the album cathartic and relatable. The first Jane Remover live performances shortly followed the album, as well as the confessional coming-out ballad “Royal Blue Walls.” She opened a leg of the Anamanaguchi tour promoting the Scott Pilgrim Vs. The World video game, as well as Pitchfork’s New York City fest at the Knockdown Center, and an entire North American run with brakence on The Hypochondriac Tour in November. Initial ideas for the sophomore LP Census Designated were written and recorded just weeks after Frailty’s release, but took 18 months to perfect. During her first trip across America, Jane collected ambience and experience that texturized the embryo of Census Designated. For an artist who’d previously incorporated far-away Google Maps and Zillow listings in her presentation, touring was a wanderlust dream come true. Jane says that a central inspiration for the new music came from an extremely dangerous drive in blizzard conditions, which led her to late night respite in John Day, Oregon. She states: “It was kind of like a reality check. I am painfully self aware, and it leads me to ruin like 90% of the experiences and memories I make. So I guess going through a near death experience made me want to stop ruining things for myself.” Her second LP is more conceptually abstract than its predecessor as Jane sheds linear narrative writing. Census Designated takes place beginning at sundown and through the night, up until the following morning’s earliest break of dawn. Its winding songs are obtuse but carefully composed, and intimately follow Jane’s train of thought. Dynamic production is at the forefront. Noisy highs gleam and are juxtaposed by dusky Post-Rock lullabies within the same song’s runtime. Census Designated is a staggering display of maturation in every aspect to a degree that makes it few and far between in the world of albums. Despite the darker palette, Jane steps into a technicolor clarity for the first time. The album was made in both studios and at home – with recordings from Studio North (Kensington in Philadelphia), mixes from Kayla Reagan, and mastered by Hector Vega. A photo of Jane standing bareback while facing away towards the high plains serves appropriately as the cover art for an album where she manages to simultaneously divulge her most confessional moments yet, and captivate with unanswerable questions.