Electronic and industrial duo, Jane In Space, cut a thick slice of industrial rock on their 6-track EP, Gorerunner. Slewed from a variety of missed genres, such as the melodic chimes of Britpop, heavy reverb effects of industrial rock, and muddled baritone vocals of new wave, the NYC collective posses a myriad of qualities that make them a vital force in the revival of industrial rock. The expansive structure that vocalist Tom Vickers and bassist, Josh Stillman create are genuinely exploratory, and at times, intimate.
Setting the scene with a strong electronic base, “The Offering” is a layering of experimental samples and riffs that jolts within the transition towards an explosive, and cold serving. Booming vocals dip back within each verse to only rise again and mindlessly transitions into “Eat Your Face.” Less harsh than the EP’s introduction, the next track harnesses a sweet melody and futuristic, dance approach that attempts to hide the self-inflicted lines, “You come from something as I come from the dirt.” Easily, this becomes an instant favorite and a sinister track that plays on sandy tones and sensual temptation, similar to “Breaking Glass.” This track is glorified in an atmospheric light deriving all potency from the classical touch of keys and calamity delivered by Vickers’ vocals.
Jane In Space / Courtesy of the artist
Heavier components — aside from the EP’s intro — are tightly pressed in other tracks, such as “Full Stop.” Taking notes from post-punk, “Full Stop” is a heavier dosage, lyrically and in sound. Questioning beliefs and crossing muddy waters, Vickers’ raw tone implements an anxious aroma as he begs for clarity. Electronic drum beats and robotic structures provide a depth to the track’s eerie static noise and Gothic echoes, crossing lines towards a sacrificial appeasement, while the EP’s title track depicts a misleading, cinematic venture.
Closing with a stronger and fuller composition, “Through The Vines” embodies anguish and more tangible sounds, relying less on electronic devices than previously heard. Stillman’s tone and lead in melody on bass are key to this track’s delivery, creating an ideal and polished soundscape. Getting lost in a fade as the track’s break, mechanized samples swarm in waves, cynically bleeding towards an array of misplaced keys that add to the pleasurable obscurity. Being the first collective offering of Jane In Space, Gorerunner is a musing from an alternative dimension, cut into shards of a darker beauty.
Girl Underground Music 
Electronic and industrial duo, Jane In Space, cut a thick slice of industrial rock on their 6-track EP, Gorerunner. Slewed from a variety of missed genres, such as the melodic chimes of Britpop, heavy reverb effects of industrial rock, and muddled baritone vocals of new wave, the NYC collective posses a myriad of qualities that make them a vital force in the revival of industrial rock. The expansive structure that vocalist Tom Vickers and bassist, Josh Stillman create are genuinely exploratory, and at times, intimate.
Setting the scene with a strong electronic base, “The Offering” is a layering of experimental samples and riffs that jolts within the transition towards an explosive, and cold serving. Booming vocals dip back within each verse to only rise again and mindlessly transitions into “Eat Your Face.” Less harsh than the EP’s introduction, the next track harnesses a sweet melody and futuristic, dance approach that attempts to hide the self-inflicted lines, “You come from something as I come from the dirt.” Easily, this becomes an instant favorite and a sinister track that plays on sandy tones and sensual temptation, similar to “Breaking Glass.” This track is glorified in an atmospheric light deriving all potency from the classical touch of keys and calamity delivered by Vickers’ vocals.
Heavier components — aside from the EP’s intro — are tightly pressed in other tracks, such as “Full Stop.” Taking notes from post-punk, “Full Stop” is a heavier dosage, lyrically and in sound. Questioning beliefs and crossing muddy waters, Vickers’ raw tone implements an anxious aroma as he begs for clarity. Electronic drum beats and robotic structures provide a depth to the track’s eerie static noise and Gothic echoes, crossing lines towards a sacrificial appeasement, while the EP’s title track depicts a misleading, cinematic venture.
Closing with a stronger and fuller composition, “Through The Vines” embodies anguish and more tangible sounds, relying less on electronic devices than previously heard. Stillman’s tone and lead in melody on bass are key to this track’s delivery, creating an ideal and polished soundscape. Getting lost in a fade as the track’s break, mechanized samples swarm in waves, cynically bleeding towards an array of misplaced keys that add to the pleasurable obscurity. Being the first collective offering of Jane In Space, Gorerunner is a musing from an alternative dimension, cut into shards of a darker beauty.
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