Jane in Space

When you’re in the mood for something different, Jane In Space is damn near perfect. The electronic rock + dark wave group delivers on each and every song in its self-titled album, and with a dark-but-accessible vibe, transports you.
Listening to the album is kind of like going to a luxe spa... in outer space. Oh, so the name somehow makes sense. The electronic and new-age sounds give them a cool, industrial sort of feel, but
the complementary vocals and the interesting-yet-nearly-soothing music keeps you focused and fascinated. They do bear some resemblance to Depeche Mode, but perhaps the “Diet” version — and this is meant in a good way.The so-called “pop sensibility” – perhaps mastered by Tom Baker – li ts their potential for too much gritty darkness or emotional heaviness and makes this appealing to just about anyone.
The potential for this album is endless. Every single song is musically challenging and interesting to listen to. It’s a modern fusion of the genres from which it draws, and does so – literally – on every single song of the album. In case you’re wondering, they delivered. Trust us: you want to listen to this album and you want to know more about Jane In Space.
Their single to note is “Say Something”, but we also really liked “Weightlessness”, “Spiderwebs” and... them all. - Impose Magazine

Jane in Space is Alive in Captivating New Video
By Louise Parker (contributor) July 15 2016 11:39am

Jane in Space launch their new, vibrant video this afternoon, “Feel It Alive”. For audiences of artists such as CHVRCHES and Ladytron, Jane in Space bring to the table an epic sound that is all their own. Hailing from New York City, the artsy group share hypnotizing elements with the new video; showcasing their talents both on and off the screen.

Jane in Space shared some words regarding the video:

“In writing and recording “Feel It Alive”, the band attempted – both lyrically and sonically – to capture the organic way patterns disassemble into new patterns depending on how they are experienced. For example, as vocalist Tom Vickers coalesces the syllables of the title into different words, heavily altered takes of his vocals drift in and out, creating a hypnotic uncertainty. The video by Permian Strata focuses in close on Vickers’ face for its entire length while ceaselessly shuffling patterns of footage behind him; the effect accentuates the uncomfortable humanity buried beneath the patterns, both sonic and visual, and reminds the viewer that perception creates the experience.”

Made up of singer Tom Vickers, bassist Josh Stillman and Jesse Jensen on guitar, electronics and production duties, we see the group display their ambitious labor of love with “Feel It Alive.” Their industrial sound comes to life on screen, with a hazy, mystifying sound that is a stunning visual impression; color us impressed. - Paste Magazine

Based in New York City, Jane in Space has released their new electronic, industrial single, “Feel it Alive”, a prelude to their 10 track self titled album set to be unleashed August 19th.

The members contained in this faction include: Tom Vickers on vocals, Josh Stillman playing bass and Jesse Jensen, the spokesman for this interview on electronics, guitar and keys.

The band has an authentic and brilliantly unique sound, which changes from song to song. I was able to share some interesting questions and answers with Jesse Jensen, who besides being part of the trio, also shared in the production of the masterpiece.

Jane in Space is a considerably creative name. How did it come about?

Jesse Jensen (multi-­instrumentalist, producer): When I started writing what ultimately became the album, there was no band yet: I needed to separate the material from the other acts I produce or play in, so I called it “Jane” on a whim because I’ve always liked the name. As the band began actually to coalesce, we thought a lot about different names that might work, but I kept coming back to “Jane.” Our vocalist, Tom Vickers, suggested “Jane in Space,” which we all thought perfectly captured both elements of our music — the isolation of the vocals against a sort of broken futurism.

Your music is very imaginative and cool. What inspired the album?

I deliberately wore two of my favorite musical influences, Nine Inch Nails and Depeche Mode, on my sleeve — both their sonics and their unashamed pop structures. But I also found myself constantly referencing musicians like Burial, Jon Hopkins, and Crystal Castles, whose songs feel impressionistic.

Can you tell me the message that your trying to invoke in the song, “Feel it Alive”, which by the way is one of the best songs that I have heard in a long time?

Wow, thanks! Tom keeps the meanings of his lyrics pretty private, but, musically, the song was inspired by the way our perception of patterns is dependent on context and frame of reference.

What do you personally believe to be the meaning of music?

Our bassist, Josh Stillman, has some pretty wild thoughts, and I quote: that “music is transcendence in the world of immanence — the other world penetrating the mundane via sound waves; the gratuitous redemption of the physical as idea becomes vibrations.” I think I agree with that. But I might also just say: music can be entertainment, but music can also be art. Entertainment tries to make you feel; art is the feeling.

Are you planning a tour to support the release, and by the way, where are you playing next in the city because I want to come?

No tour is planned yet, but on September 23 we will be playing an album release show in New York City, featuring our Aion Records labelmates Charcole Federation, and a few others — we’re finalizing the venue now and will let you know.

What music influences did you grow up listening to?

NIN and Depeche Mode, as I mentioned; but also a lot of ZZ Top (thanks, Mom and Dad!). I know Tom grew up with a lot of Britpop, while Josh has the biggest musical vocabulary of anyone I know, from Operation Ivy to Parliament/Funkadelic to Frank Zappa.

I feel like some of the songs on the album are a bit explosive and chaotic, is there a particular one that you are most proud of?

For me, “Dehydrated” — Josh’s bass just oozes, and what Tom came up with for the chorus is beautiful.

How did the band get together?

I asked Tom to start singing on some of the demos I was making that didn’t fit with any of the other bands I work with; when that clicked, I wanted a bassist and Josh is the best one I’ve ever known.

What’s the best way for fans to be to gain access to your music?

We’re on everything — Spotify, iTunes, Amazon, etc.; our website www.janeinspace.com will point you in the right direction. Follow us on Facebook at www.facebook.com/listentojaneinspace for updates.

What’s next for Jane In Space?

The album release on August 19, and then the September 23 album release show! - The Huffington Post

Like a few out there, electronic alternatives are not at the center of my musical conciseness, however when the New York City band draw comparisons to the likes of Depeche Mode and Ladytron, to CHVRCHES, Deftones and UNKLE it’s hard to ignore. Such is their blend of electronic and industrial influences, aided by alternative rock songwriting and sensibilities. Singer Tom Vickers is an experienced actor and voice-over artist who channels the strongest melodic hooks and songwriting of the 1990s Britpop he grew up with in his native Oxford. Supplying the electronics and guitar is producer Jesse Jensen, while bassist Josh Stillman sneaks funk into the band’s otherwise deliberately mechanized sound.

Hear the disorienting sound of ‘Feel it Alive’

The trio’s new 10 track album proves agreeable after first listen by fusing emotionally charged, heavy moods with a keen pop sensibility. The release was mastered by Tom Baker (Nine Inch Nails, Deftones, Wolfmother) and is being released in August by Aion Records. First track ‘Say Something’ starts with a tasty near dissonant opening before a warmly delved but disconnected emotional tale of late realisation’ the harder electronic feel adds atmosphere and appeal. ‘Dehydrated’ feels more lighter by comparison and echoes a time when a well placed keyboard refrain could speak volumes aided by imagination.

The appeal of songs like ‘Dizzy Head’ the poppier ‘Weightlessness’ and likes of the older-schooled ‘Helsinki’ work, but considering I much prefer ‘Jane9’ to ‘Jane3’, it’s just semantics I realise, but Jane in Space do get it more right than most, but as ‘Feel It Alive’ brings proceedings to a close for the third time, I was left with a slight air that there is more creative juice in the tank, a solid darker-wave affair, but perhaps it could have been more. 7.8/10

Steve Janes. - WithGuitars.com

I didn’t know what “industrial music” meant until just a few years ago when a friend finally introduced me to the extensive work of Trent Reznor. The dark combination of electronics and heavy rock elements was immediately both provoking as well as somewhat o -putting. It combines some of my favorite styles of music with some of the dark creatures you would find through a portal “Stranger Things.” But over time, I have grown to appreciate the brooding combinations which make the genre so fascinating.
On their upcoming self-titled album Brooklyn trio Jane in Space took on industrial themes in an attempt to conquer each of the styles which go into creating the trademark industrial sound. Due out August 19th on Aion Records, Jane in Space checks o the wobbly basslines, distressed vocal melodies and syncopated rhythmic layers which popularized bands such as Nine Inch Nails and Ministry in the 1990s. With the band providing the tracking and most of the production, the ambient, black hole sound of the record as a whole was accomplished through he mastering of Nine Inch Nails, De ones and Wolfmother collaborator Tom Baker.
The variability of the industrial tag allowed the band to explore different styles to be placed within one coherent and streamlined album across ten tracks. From the opening track “Say Something” it is obvious that Josh Stillman’s driving basslines and their interactions with Jesse Jensen’s pulsing drum beats are at the core of the record. Stallman’s bass textures move from wobbly synth tones to deep and dubby booms from track to track and are complimented with ambient samples such as reversed piano chords and fuzzed out melodies. The glitchy, reverse drum fills on “Weightlessness” highlight their affinity for post-production editing to create the exact desired sound and effect on each song.
The album moves from style to style weaving in and out of dark spacey environments along its path. “Mental Abrasions” is an up-tempo Liars-esque track which is the standout dance track on the album. On the contrary “Helsinki” is the standalone guitar driven track while “Jane3” is the lone instrumental track on the album. This variability is just a sign of the creativity and expansive vision of Jane in Space as a project as a whole.
Overall the album is mainly marked by Tom Vickers’ ability to nearly perfectly replicate Trent Reznor’s unique vocal style. If the instrumental styles of the album weren’t enough of a homage to the Nine Inch Nails frontman, then Vickers’ accusing vulnerability in his vocal melodies and tones certainly cement his obsession with Reznor as a musician as a whole. The way in which his voice cuts through the mix and into the head of the listener is what sets this album apart from other industrial “knockoffs.” Amidst this saturated industrial market, don’t be surprised to see Jane in Space gain traction through their unique desire to experiment and explore new spectrums of the genre through their spacey productions. - Respect Your Youngers

Even though ‘Say Something’ is the single, to me personally ‘Feel It Alive’ is the one that made me instantly sign up as a believer in this band. The voice has such a great hook; it easily goes in the head and will stay there even though the music had long stopped playing. It’s the secret hit, perhaps too long for on the radio but if they made a shorter version to poison the ether waves Jane in Space’s space would be filled with addicted listeners.
For everyone who is not easy convinced it’s a blessing that ‘Feel It Alive’ has its own video clip. One that mostly dressed in blue lights, made me think color-wise to the neon lights in public toilets in Amsterdam. The blue light makes it harder for the junkies to see and find their blue veins to place their needle, forcing them to go elsewhere. This video is certainly not to shoot up by, as the visuals are intense and already distorted and trippy as it is. With original lighting effect the face of Jane in Space transforms, multiplies, melts and intensifies until a sky full of toxic clouds turn the session into a happy ending.
Please don’t sue us if you are starting to develop an addiction to the sound of Jane in Space; remember that we warned you from the beginning and that the rest is done by you voluntarily. Get your fix over at the following link: http://www.janeinspace.com/ - Yeah I Know It Sucks

They say never judge a book by its cover but when it comes to album sleeves there’s no doubt they set expectations.
Jane in Space have set their stall out with a piece of stylish praying mantis artwork that has an iconic sort of feel about it, like Muse’s Origin of Symmetry – it makes you excited about pressing play.
The New Yorkers’ opening track ‘Say Something’ does not disappoint. Uber cool and edgy, it has a film soundtrack quality about it with its stylish beats and understated vocals.
‘Dehyrdrated’ has more of an 80s aura – Pet Shop Boys and Rock Me Amadeus spring to mind. ‘Spiderwebs’ flirts with Linkin Park before adopting more of a chill out feel.
There are other less well known similarities too. The guitar riffs in both ‘Weightlessness’ and ‘Helsinki’ bear an uncanny resemblance to prog metal legends Dream Theater’s epic track ‘In the Name of God’.
While Tom Vickers’ vocals are appropriately downplayed throughout there is plenty of emotion in his sombre delivery and emotive lyrics. Lines such as “I get mental abrasions when I look at you” and the anguished “the thought of going to bed without you” hint at a songwriting process fuelled by the propellant of human relationships.
‘Jane3’ and ‘Jane9’ are more atmospheric fillers than songs in their own right, but the pulsating rhythms of ‘Feel It Alive’ ensures Jane in Space finishes with a bang. - 11 is Louder than 10

As much as New York City is the ‘City That Never Sleeps’, it is equal, if not more, the city of ten thousand sounds. One of these sounds comes from Jane in Space, as they get ready to drop their self-titled debut album. Jane in Space, as both an album and as a band are proving to be capable of getting up to speed with this running start.
A fusion of electronic and industrial music is nothing new, and is certainly not groundbreaking, yet every once in a while someone comes along and re-writes the rules. Jane in Space have taken what genre pioneers Depeche Mode and Nine Inch Nails had to teach, and built their sound around it, like a spiral staircase. The other thing they’ve taken from Trent and his Nails is that a well produced, and an exceptionally mastered album is worth its weight in gold. To that effect, they made a great business decision and hired Tom Baker to master the album (Nine Inch Nails, Deftones, Wolfmother etc). The talent shines brightly through this highly polished offering.
Tracks of note include “Spiderwebs”, which is a very strong track with a minimalist feel, with a gentle caress of keys courtesy of Jess Jensen (who also produced the record). Along the same line “Dehydrated” is an exceptional track that has the strength to switch from a deep, and brooding place and back to the light again.
What is a bit odd, but by no means a deal breaker is that the lead single is the final track of the album; “Feel it Alive”. (which the band has released a video for (embedded below in anticipation of the upcoming release of the album.) I suppose that when the track is a masterpiece, I guess you can put it wherever you want. The video by Permian Strata focuses in close on Vickers’ face for its entire length while ceaselessly shuffling patterns of footage behind him; the effect accentuates the uncomfortable humanity buried beneath the patterns, both sonic and visual, and reminds the viewer that perception creates the experience.
Vocalist Tom Vickers has described his unique take on creating an aural experience as heavily reliant on a seamless organic feel that drifts in and out, creating a feeling of hypnotic uncertainty. See if you agree. - ABORT Magazine

It’s almost ironic that some of my favourite nostalgia-based trends in the current music are based in electronics. The 1980s neo-noir synthwave trend in particular has been a big personal draw for me, and though a lot of those artists play upon near-identical aesthetic templates, a new wave of electronic rock can only be seen as a good thing in my eyes.
NYC’s Jane in Space isn’t a synthwave band per se, but that recent trend was the initial reference point I heard when hearing their dark, pulsing instrumentation. You can hear the 1980s noir-chic on their song “Dehydrated” for instance, but the blend these guys are pulling in is a bit more complicated. The industrial rock of the 1990s (think Nine Inch Nails) informs the band’s edgy attitude, as Britpop (think Blur) does for their vocal melodies and inflections. In a year that’s somehow felt a bit slower musically than others, it is refreshing to hear a new band with this much spirit and potential.
Jane in Space’s major influences aren’t the point; it’s how they’re integrated so seamlessly here that really makes the album. While I’m sure many first-time listeners will recall Nine Inch Nails in more ways than one, distinctions between the two are easy to point out. Even if Jane in Space are working in fairly dark, moody electro territory, there’s never a point where they lose themselves to despair. Emotionally, the band are probably best defined by their range and dynamics. While Tom Vickers’ British-inflected vocals and punchy synths draw a constant across the album, Jane in Space are the sort of band that seem to like the idea of reinventing themselves again and again over the run of a single disc.
“Say Something” is dripping with a hazy afterhours vibe. “Dehydrated” (possibly my favourite here, tied with the melancholic “Dizzy Head”) is perfectly synthwavy and energetic. “Weightless” is tense and exotic. “Jane9′′ is cloudy and ambient, and “Feel It Alive” is fun while being simultaneously claustrophobic. Jane in Space never let themselves get too tied to a single sound, so they keep exploring themselves until the album is done. Alas, the songwriting isn’t consistently bright — the album feels a little frontloaded qualitywise, and playthroughs usually have me longing for the pristine moments of “Dehydrated” or “Dizzy Head” somewhere into the second half. All the same, for a debut that attempts to showcase a different side of the band in virtually every song, it would be a shame not to give Jane in Space their due credit. This is one of the stronger debuts I’ve heard from a new band in 2016; here’s hoping it won’t be the last we hear of them. - Prog Sphere

Jane in Space released a fantastic self-titled debut this year. Combining elements of electronic, rock and Britpop under a deceptively progressive lens, they’re quickly making a name for themselves. Thanks again to the band for taking the time to respond to this interview.

Hello! First off, I’d like to thank you for taking the time to answer this interview.

Tom Vickers (vocalist): Thank you for having us.

Jesse Jensen (producer / multi-instrumentalist): We’re very excited to be talking to you, thanks. First of all– what’s behind the name of your project?

Tom: Jesse firstly called the project simply “Jane” because he liked the name. The music he was coming up with sounded vaguely futuristic, but also had a retro 80s sound, so I suggested we call it “Jane In Space,” which reminded me of a B‐movie.

How did you guys meet initially?

Tom: Jesse and I met four years ago in a singer-songwriter’s band; when that went sour we formed an indie-rock band with our friend Andrew called “Jenny Haniver” and released an EP titled “Know Rainfall.” Throughout that time, Jesse was working on the side on what became Jane In Space. When he asked me to be involved, I was initially hesitant about the project because I had never attempted to write vocal melodies to that sort of instrumentation before. I was listening to a lot of power-pop at the time, such as Teenage Fanclub and Big Star, and that was more the direction I was looking to go. However, it turned into something beautiful and very much out of my comfort zone. Jesse and our bassist Josh Stillman have known each other for years and played in previous bands together. Josh might just be the best bassist around. His funky bass really helps bring the songs to life.

I’m really impressed by the way Jane in Space manages to fuse synthwave and industrial music with what is fundamentally pop songwriting, and great songwriting at that. How did this style come together?

Jesse: Thanks very much for the compliments. The songs all start as sonic experiments – me collaging sounds I’ve made or found, trying to evoke a particular mood. If something gels, I start to massage it into a pop structure just to focus myself. But they’re still not “songs” until Tom comes in – he is amazing at finding melodies and actually tying these “things” into real songs. The last – but crucial – step is muting the temp synth-bass on the track and letting Josh infuse the song with soul. He takes things a different direction than we ever would on our own and, so from there we’ll go back and re-arrange as necessary. Playing live also leads to happy accidents and exposes a song’s weaknesses.

In your music– specifically for the song “Feel It Alive”, you’ve described how you attempt to explore the way patterns can change depending on the way they’re experienced. Can you go into this topic in any more depth?

Jesse: Philosophically, that song started because I was interested in exploring apophenia and how it isn’t always clear what makes a beginning “the” beginning and an end “the” end. Polyrhythms are nothing new (especially in electronic music), but part of what we tried to do here was get polyrhythmic about the timbres themselves. The song originated when I processed already polyrhythmic loops in alternating fashions, blending them in and out against each other: we applied the same approach to Tom’s vocal as well. The whole thing ended up sounding very organic – which is funny, considering the downbeat was originally different – but that seemed appropriate: I think I often subconsciously avoid understanding complex systems in favor of trying to find simple patterns.

Your electronic productions are very nuanced and powerful. What’s the creative process behind putting the industrial/electronic aspect together?

Jesse: I spend way too much time overthinking things – see my previous answer as an example. If I just sit down to “write a song,” it usually ends up garbage; instead, I’m really inspired by programming and processing drum machines and grooveboxes, where I feel like I am wrestling with a machine – trying to force it to be something it’s not: emotive. Once I’ve found that initial spark, it’s just hard work – trying every trick I’ve ever learned and trying to come up with new ones – and sculpting out what doesn’t work.

The instrumentation is fairly abrasive. Was there any difficulty in writing melodic vocal lines for this material?

Tom: Absolutely! To begin with, I was apprehensive about even attempting to write vocal melodies to this instrumentation but it became easier once I actually sat down with Jesse and listened to the sketches of music he had created. As an example, Jesse once played me some music which seemed so insanely dense that I didn’t think I’d ever be able to fish any melodies out of it. However, we just sat there for a couple of hours listening to the music again and again, looking for what was inside, and eventually I found some melodies. Then Jesse improvised an awesome guitar riff over the top, and that became the track “Helsinki.” Sometimes patience is all you need.

I was actually really impressed by the music video you had produced for “Feel It Alive”. Most of the time good music doesn’t necessarily line up with great filmwork, but the experimental nature of the video really enforced some of the music’s ideas. What was your initial idea behind the video? How do you think it turned out?

Tom: The idea was initially very simple. We asked our friend Permian Strata, who does visuals at most of our gigs, if he would project some visuals over my face with me singing along to the song. That was the initial concept for the video. It really went above and beyond our expectations. He used all the shots he took and melted them in and out of each other and it ended up creating a nightmarish and haunting experience which elevates the song immensely. In some ways I now can’t imagine the song existing without the video. It’s really become part of the song.

What’s your opinion on the self-titled debut now that it’s out?

Jesse: I find it difficult to listen to any of my music without imagining countless other avenues I would have liked to explore, but I feel unbelievably proud of this – it is undoubtedly the best record we could have made.
Does Jane in Space perform live? If so, what’s the experience like?

Tom: We do; actually, we will be performing at Leftfield Bar in NYC on September 23 with our Aion Records labelmates Charcole Federation. We were lucky enough to snag Permian Strata to do live visuals; frankly, he’s the reason to come see the show – he is phenomenal.

Jesse: The live experience is another thing I overthink; I want to capture the same feeling that started the songs – wrestling humanity out of machines. We don’t use laptops – that’s a mission statement for me – and instead we use an Elektron Octatrack programmed with certain tracks so I can manipulate them live, while also playing keys, guitar and drumpads. On the other side of the stage, Josh is greasing up the tracks with his very unmachine-like funk bass. Tom is caught in the middle – literally and metaphorically, the bridge between the soul and the machine.

What advice would you give to other musicians, if any?

Jesse: Think hard about when to let things simmer and when to take them off the stove.

What lies in the future for Jane in Space?

Jesse: The music video for “Mental Abrasions” comes out in September; I just watched the newest edit of it and I’m very excited. After that, who knows – we’re making this up as we go.

The last words are yours.

Tom: It feels absolutely incredible to have put so much work into this and have it get recognized at all. Thank you so much for taking the time to talk to us, and I hope everyone out there will check us out at www.facebook.com/listentojaneinspace and www.janeinspace.com. - Prog Sphere

From New York
City comes the
moody, early
industrial, sound
of Jane in Space.
Releasing their
new single titled
Feel it Alive, which
is taken from their
self-titled album,
listeners beware,
you re going to
need to embrace
your vulnerable
and dark side to
get the full effect of this creative album.
Starting off the album with a very Interpol meets NIN sound, Say Something is a devious track that journeys from catchy to very catchy, and by the end of the song you have it turned up loud to make way for the cool synth line and singing. For an opening song it does well in setting the pace of the album, and gives you a clear idea of what Jane in Space is offering.
Later in the album is a track called Spiderwebs, and this song is nothing like the others in many ways. The song drops the bands typical style of singing for the use of an auto-tune effect, that effectively keeps the song out of tune, but in a creatively good way. It sounds a bit more Kayne West than Trent Reznor, and the firstplay through was quite lost on me; but, like every music listener should know, some tracks just need a second spin. The song is the odd man out, the ugly duckling on the album, and perhaps that is why I gave it a chance, and I am glad that I did, because it was better the second time through. Spiderwebs can be described best as the albums potential sleeper hit.
The current lead single Feel it Alive is the best choice for the bands introduction to their new fans, as the song embraces a bit of everything that Jane in Space is about. With musical moments drawn from early NIN, The Cure, Interpol, and Depeche Mode, Feel it Alive feels more like a show of inspirational respect for the bands obvious musical influences. The video is simple and minimalistic, moody and dark, and by the end you feel a bit emotionally drawn out; all things I am sure were intended by the artist.
If you are a daring listener that enjoys perfect rainy-day music, then this album is for you, but if you spin the likes of Justin Bieber or Nickleback on a regular basis, this album might just show you a dose of something a bit too far out in space for you. - Soundscape Magazine

From New York City, NY comes one of those bands that makes you stop, focus, and listen. “Jane In Space” is a very dark and interesting band, and we at Vents Magazine enjoyed some time to talk with the band and learn a bit more about their very unique music.

Ryan: Band names are one of the more difficult decisions to make. What is the story behind Jane in Space?

Jesse Jensen (multi-instrumentalist, producer): Before there was a band, I was cataloging things I was writing that didn’t fit in any of my other projects under the name “Jane.” When Josh Stillman (bassist) and Tom Vickers (vocalist) actually started to bring those things to life, Tom suggested calling it “Jane in Space,” which felt perfect because it evoked what we were trying to do – a lonely emotion amidst the promises of futurism.

Ryan: Your lead single “Feel it Alive” was a great choice for a song deserving the spotlight. What made you choose this song over the others?

Jesse: Thanks! When you’re in a band, every song is an attempt to juggle everyone’s different influences; sometimes, like with “Feel It Alive,” all those influences perfectly coexist – my love of dystopian-sounding electronics, Tom’s gift of melodicism, and Josh’s effortless groove all clicked together.

Ryan: How long did the album take you to make?

Jesse: On and off, two years – lots of overthinking during that time, to be sure, but we were also all busy with several other projects. We also wrote way more songs than ended up on the record – these just felt like the right ones for our first album.

Ryan: The video for ‘Feel it Alive” is quite dark and moody, and quite vulnerable feeling. How much input for the video did you have in regards to the finished product?

Jesse: Permian Strata deserves all credit for the video. We’re lucky enough to have him do live visuals for us, and he never ceases to amaze. When we wanted a video for this song, we asked him about the concept – projecting his visuals onto Tom singing the song – and Permian Strata went wild from there, coming up with some incredible techniques.

Ryan: The album is currently self-titled, is it expected to stay this way, or will you be added an official title before the release?

Jesse: Self-titled. It was enough of a fight to settle on the track list – we had so many songs to choose from!

Ryan: What does your song writing process look like?

Jesse: For the most part, Jane in Space songs begin with some sort of sound collage I’ve made; I’ll attempt to give them some structure, perhaps by co-opting a guitar riff into a synth and weaving that on top.
At that point, it’s still pretty amorphous; I’ll play Tom this blob, and he’ll come up with the most incredible melodies on the fly. We sort through his ideas and start putting the song together, and then Tom will go write lyrics on his own. Josh is the last piece; almost every song is fully arranged, including scratch bass parts, by the time he listens for the first time. I’ll play it a few times – he’ll look stumped and I’ll worry that he doesn’t like it – and then his fingers start dancing around his frets, finding grooves I didn’t think existed in the track. The song doesn’t feel complete until then.

Ryan: Where do you gather your inspiration from?

Jesse: I spend way too much time trying to figure out how to emulate in music the meta-fictional universes of Grant Morrison and Mark Z. Danielewski. Musically, this album tried to distil my historical inspirations – Nine Inch Nails, Depeche Mode, and the like – with the sort of modern musical impressionism of artists like Burial and Crystal Castles.

Ryan; Do you have any advice for independent musicians looking to make their first album?

Jesse: Be patient, and play your songs live as you develop them; not only will performing make you hone in on your songs’ weaknesses and tighten their structures, but the mistakes you make will be some of the best ideas you’ll ever have.

Ryan: Many albums have themes that run through them, does this album have a specific theme?

Jesse: I don’t think there’s a lyrical theme (though I wouldn’t put it past Tom to have hidden one in there), but we put a lot of thought and effort into capturing Brian Eno’s quote about “the sound of failure,” that “so much modern art is the sound of things going out of control, of a medium pushing to its limits and breaking apart.” Our goal was really taking the futuristic promises of electronic music and breaking them.

Ryan: Other than “Feel it Alive”, what is a song that you would like to shine a light on?

Jesse: “Spiderwebs” is a song that explicitly embodies that Eno quote. Tom’s lyrics touch on the paradox that our increasing interconnectedness may be dehumanizing us; to make that message literal, we processed his vocals to emulate that popular auto-tune sound, but without auto-tune — which just made his vocals sound broken. There’s something really lonely about the way he sounds, especially in contrast to the sort of Depeche Mode-style bombast that’s going on musically.

Ryan: Lastly, and thank you for your time. Do you have any news that you would like to share with your fans?

Jesse: Thank you so much for taking the time to speak with us. The album comes out on August 19, and we’re very excited to announce that we will be playing an album release show on September 23 with our Aion Records labelmate Charcole Federation and a few others. Follow us at facebook.com/listentojaneinspace for updates on that show and more. - Vents Magazine

Jane In Space are a New York-based outfit around whom there has been much buzz, despite the fact that they just released their debut self-titled album on August 19. The electro/emo/industrial trio have been gearing up for this album for quite a while, releasing one-off tracks on their Soundcloud page since 2014. What really got the buzz going, however, was the news that legendary industrial and alt producer Tom Baker would be mastering the album. Baker has worked with such illustrious indie bands as the Deftones, Nine Inch Nails and Wolfmother, so his name on the project certainly gave credence to Jane In Space’s work.
Baker’s flawless mastering notwithstanding, Jane In Space fill a very specific and oft-missed niche sound-wise within industrial and emo circles. Namely, they have managed to capture the sounds and feelings of a revered time in industrial’s past: the 80s. Frontman and vocalist Tom Vickers attributes the tones he and bandmates Josh Stillman and Jesse Jensen have been able to create to his British upbringing. In England in the 80s there was a proliferation of emo and goth bands which started to fuse with industrial and even pop in a way that was new and exciting. This throwback feeling is prevalent on the album, where listeners will definitively hear lashings of Depeche Mode and Bauhaus in their otherwise modern soundscape.
A very Depeche Mode-heavy example of this is the first single off the record, called “Feel It Alive”. Released in video form as a teaser to the album last month. In this single, Taylor’s vocals have all echoing throatiness of Dave Gahan while Jensen’s programming straddles 80s industrial sounds and more modern beats and samples. Meanwhile, lead track “Say Something” brings in indie, industrial and darkwave sounds from many different time periods. Here, Taylor’s vocals are more brassy and almost seem strained. They lend themselves to the lighter, more snares-driven highs and equally brassy melodies in the track. Even more surprising is a quite funky bassline from Stillman.
Some other highlights on the album include “Dehydrated”, which has a sort of reverse Depeche Mode bassline and more versatile vocals from Taylor, and “Mental Abrasions”, which features a lot of fun ravey sounds and NIN-inspired beats. Here Taylor’s vocals are almost operatic, where he shows the range of his voice. The only sort of strange choice in the album comes in the form of the vocals on “Spiderwebs”, where some strange auto-tune is added to Taylors voice, for no appreciable reason. Jensen and Baker may have been trying to gain some sort of echo quality, but it doesn’t quite come off. The chorus of this song is beautiful, however, so it’s not a total loss by any means.
Jane In Space are off to a very good start with their debut album and have a knack for combining vintage industrial and emo sounds with modern techniques and their own unique twist. Each member of this unique trio is bringing a whole lot of talent to the mix. It seems that with all these elements and the help of a great producer, Jane In Space have lived up to their pre-release hype. - Brutal Resonance

New York’s Jane in Space is a fast-rising trio influenced by the industrial electronic of classic groups like Nine Inch Nails, as well as newer acts like CHVRCHES. Their debut self-titled album is an explosion of dark and pulsating electropop resplendent with all of the brooding theatrics of late-80s Depeche Mode.
Aside from the standard bangs and crashes from machinery and factory floors, there is something inherently industrial about the very core of this album. The ambitious lead-single “Feel It Alive” is built around “the organic way patterns disassemble into new patterns depending on how they are experienced.” Singer Tom Vickers echoes this as he repeats the few lyrics relentlessly, but with subtly different inflections.
The group still manages to retain an essential pop melodicism, and songs like “Say Something” and “Mental Abrasions” are filled with infectiously catchy hooks. The album itself, in a way, is a bridge between standard pop fare and the most impenetrable of
Industrial and Noise; all the while exposing the commonalities shared between the two sides. Jane in Space, out August 19th on Aion Records, is a record that has been carefully crafted with a sharp attention to detail and the instincts to execute their vision flawlessly. - The Big Takeover

NYC based electrorock trio Jane in Space has released a brand new video for their debut single 'Feel It Alive'. The single comes off their upcoming, self-titled album due out on August 19th via Aion Records. The album was mastered by Tom Baker of Nine Inch Nails, Deftones, and Wolfmother. You can stream the video below:

Jesse Jensen, Josh Stillman, and Tom Vickers is Jane In Space. Blending electronic/industrial elements, they create a unique style of alternative rock. Frontman Tom Vickers also channels the 90s British-pop he grew up with in his hometown of Oxford. Jensen produces the music and creates electronics, while bassist Stillman provides a bit of funk.

For more on Jane in Space, check out their Official Website and follow them on Facebook. - Brutal Resonance

Out from space and now in New York City, Jane In Space make industrial rock with a sense of dreaminess as seen on “Feel It Alive,” a track taken from their self- titled new album which will be released on August 19.
“Feel It Alive” wastes no time jumping into its lively world of electronic-rock goodness, with a thumping bass and swirling synths, paving the way for the vocal work of lead singer Tom Vickers. It doesn’t take much time at all for Jane In Space to win you over and make you feel alive with the readymade “Feel It Alive.”
Stream it below and keep your eyes pealed for more on the trio coming soon. - We All Want Someone To Shout For

NYC dark electronic trio, Jane In Space, bring back a heavy industrial sound that fuses new wave of the 80s, to a modern dark wave sound on their recent single, “Feel It Alive.” Tom Vickers (vocals), Josh Stillman (bass), and Jesse Jensen (electronics, guitars, keys) incorporate an array of sounds and colors, extracting the emotional attitude of a post-punk song while placing it on an electronic foundation.

Translating to what may be compared to a robot programming itself to feel, the track’s vivid use of waves displays the uncertainty within “feeling.” The experimental aspect is appreciated as the track’s production is clean and absorbs the majority of the space. Powered by Vickers’ low and at times haunting vocals, the trio aims to trigger a sensual disturbance within the listener, especially with their music video.

Directed by Permian Strata, “Feel It Alive” is a continuously locked shot of Vickers through a multitude of distorted vocals, sounds, and colors. While focusing on Vickers’ face, a slightly uncomfortable feeling develops due to the effects of the gaze, and ultimately achieves the trio’s goal- you just felt alive. In par with traditional dark electro, Jane In Space artistically showcases human’s disturbances through the expressive visual stimuli and powerful bass riffs. - Girl Underground Music

Jane in Space is an NYC­ based electronic rock/industrial trio with a sound that should delight fans of Nine Inch Nails, Depeche Mode, and Dave Gahan. Lively industrial whirs and a bustling bass line coax up an anxiously infectious feel on track “Feel It Alive”, while Tom Vickers’ lead vocals – comparable to Gahan in tone – provide a confident presence. He pulls part of his delivery from “’90s Britpop he grew up with in his native Oxford,” which no doubt is partially why darker Blur tracks – circa their 13 era – also comes to mind. Speaking of Nine Inch Nails as well, the track was mastered by Tom Baker, who has also done so for Nine Inch Nails, Deftones, Wolfmother and others. An impressive track through and through.

More on the track and video’s creative process:
... the band attempted – both lyrically and sonically — to capture the organic way patterns disassemble into new patterns depending on how they are experienced. For example, as vocalist Tom Vickers coalesces the syllables of the title into different words, heavily altered takes of his vocals drift in and out, creating a hypnotic uncertainty. The video by Permian Strata focuses in close on Vickers’ face for its entire length while ceaselessly shuffling patterns of footage behind him; the effect accentuates the uncomfortable humanity buried beneath the patterns, both sonic and visual, and reminds the viewer that perception creates the experience. - Obscure Sound

Check out Say Something and the video for Feel It Alive from New York electronic rockers Jane In Space, two terrific tasters from their self titled debut album released at the end of August. I knew electronics could be dark but who'd have thought that they could be so damned funky as well? If Radiohead let their hair down and got their funk on they'd probably sound something like this. - The Devil Has The Best Tuna

Jane In Space are from New York and they are creating an interesting hybrid mix of rock and electronica similar to another artist we have reviewed previously, Texas Microphone Massacre.
On “Feel It Alive”, Jane In Space are combining industrial electronica elements with hard hitting indie rock. The track reminds us of the unique formula that Nine Inch Nails accomplished with their blend of hard rock and electronica. We look forward to hearing more with their upcoming album.
Jane In Space are Tom Vickers – Vocals; Josh Stillman – Bass; Jesse Jensen – Electronics, Guitar, Keys
“Feel It Alive” is from their forthcoming self-titled debut album which will be released August 19, 2016 via Aion
Records. - The Revue

Jane In Space are a retro/emo/industrial trio based in New York City who just released their hotly anticipated self-titled album this weekend. Why was the album hotly anticipated? Most likely because it was produced by industrial/alt heavy hitter, Tom Baker. The community of gloom which surrounds emo and industrial music was also excited about this album due to the phenomenal teaser single, “Feel It Alive”, which has actually been out on the trio’s Soundcloud (https://soundcloud.com/janeinspace) page for almost a year. A complimentary video for the single was posted on Youtube (https://www.youtube.com/watch? v=ktgKFhI7ZSM&feature=youtu.be) in July.
“Feel It Alive” delivers what it promises: a heavy dose of throwback emo and industrial sounds a’la Depeche Mode with clean composition and brooding production
values that Tom Baker has come to be known for. Vocalist Tom Vickers also cites his 80s Oxford upbringing and the unique fusion of emo and pop at that time which came to be a signature style of industrial music.
With their debut album now released, rabid emo and industrial fans can now see what else Jane In Space have in store for them. The rest of the album has different rations or modern and retro style, but the technically clean sound is omnipresent. Click below to see the video for “Feel It Alive”. - Ellenwood