Internet microgenres are usually silly—vaporwave as a movement, and its fizzling into niche circles of recycled concepts recreated ad nauseum comes to mind most notably, since its base concept has been executed so well at times—but I think dariacore may be able to sidestep that downturn simply by being reliant on an internet subculture so interested in new ideas. Itself as a microgenre may come and go simply because its progenitor, leroy (aka Jane Remover), is already on to yet more genre shifts and reinventions; there will certainly be followers in its shadow, incorporating even more niche subcultures into frenzied pulls of EDM nausea, future bass, and the truly hilarious number of subgenres incorporated, but its creation here seems like the path is already set. Dariacore may well likely be an ouroboros, becoming smaller and smaller indefinitely simply because it demands so much in its creation and listening. And to a better extent, its three founding texts are its most expansive displays.
The lengthier, rave-set-as-album Grave Robbing released in almost a year ago now may be its grown-up period, re-inventing yet again the five-idea-per-minute tracks present on these first three collections, into about five minute ragers worthy of a Boiler Room set (or perhaps more fittingly something like Coalchella, Mine Gala, or Lavapalooza that 100 gecs were plugged into back in 2019). But for these initial three, the simpler framework is for its benefit; there are constant window shifts as the tracks fly by, referencing-by-sampling a seriously absurd list of immediately endearing pop and underground touchstones. Even as those digitized, fuzzy hints pepper themselves throughout each snippet, the super-compacted, explosive production does a lot of heavy lifting in keeping energy high, never missing a beat in the incredibly catchy melodies and head-throbbing bass stings and breakbeats.
And simply because of each three albums' foundations, as electronic study music for over-worked college students trying to make-up an inane amount of late homework, they serve as entertaining, 'unplugging' music while never disconnecting from the roots that make its lively, glittery samples work wonders in reinforcing its atmosphere.
Tracks like ricky bobby, copyright strike my fucking nuts, ...during pride month?, i never go swimming without my lip liner, her head is soooo rolling!! love her, and i hate when BOYS lie, while highlighting how absurdly playful this all is, are maybe the two highlights that stick out most from each project. And while it would be useless here to list every single sample that people have found—there's plenty you can find on your own online; in forums, dedicated sample websites, and the like—these listed from those tracks exemplify, I think, everything you need to know:
These blazing funfests are an artist's side project of creative outpouring and sheer pent-up talent that, apart from flexing her production chops, serve as love letters (or simply joking prods) to everything sampled. It is EDM, future bass, jersey club, mashup... whatever, re-forged based on the artist's influences and internet culture memories, either placed heavy-handedly or buried in electronic surges, purely depending on how fun it'll be to poke at and pick through; 'throttling, ridiculously jovial shout-outs: the microgenre', in essence. And in that immense joy and artistic wit, Jane as leroy found the space to constantly create new points of reference for everything she knows, through the lens of a singular, terminally online, and cutely smile-inducing kind of music production—even if you really have to be tuned into the same headspace it's in when listening.
It's music that simultaneously invents and destroys a microgenre, ridding any hope for anyone else to do it better in this lane; even she herself, under this pseudonym, had to diversify with what came after, cementing these as a lightning-in-a-bottle, thrill-a-second point in internet EDM.
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