Abusing, evading, and obliterating 20 years of whimsical pop trends, Jane Weaver’s experience as a truly independent and resilient songwriter and sound-carrier commands respect and inspiration in equal measures.

Recalibrating her singular journey in the British musical landscape with her most open-hearted, direct and intimate collection of material yet. Jane's new album 'Love In Constant Spectacle' evokes spectacular imagery and distills the artists’ vision in its purest form, elevating her inimitable sound and poetic vision to new heights.

Recapturing the melancholy of her early work whilst propelling it forward, she sketches scenes as we watch new colours, shapes and languages emerge and fill the frame. Love In Constant Spectacle sees her take measured steps towards a vivid, dreamlike record, that offers resolve in the face of life’s inevitability.

The foundations of Weaver’s sound are still evident – lush motorik drums, pulsating bass, custom modded synths and exotic fuzz pedals – but the stream is awash with scrabble piece poetry and Letraset lullabies leading to lush escapism, the free abandon that you’d associate with free jazz and the avant-garde. But, as determined and visionary as Weaver might be, Love In Constant Spectacle wasn’t executed without assistance. Here we find a long mooted unison with Jane’s first ever producer, John Parish (PJ Harvey, Aldous Harding), who has shared Weaver’s process in the surrounds of Rockfield Studios and Geoff Barrow’s Invada studio.

Love In Constant Spectacle is otherworldly, it is both intimate yet distant, a surrealist interpretation of the foundations that make us human – the stories and landscapes it paints are habitats of their own. A voyage into undisclosed pastures, it’s a heartfelt manifesto from an artist that continues to boundlessly evolve with each chapter in her career.

Released in 2021, ‘Flock’ was complete with unpretentious Day-Glo pop sensibilities, wit, kindness, humour and glamour.

As an unshakable figure in the UK’s experimental pop music landscape her self-propelled career has in recent years reached a critical zenith with unanimous praise for her work.

Raised on the enthusiasm and inspiration of Factory records founder Rob Gretton and counting Doves and Elbow as her early backing bands, Jane’s desire to cultivate and promote Manchester's lesser-documented female musicians lead to her long-running Bird records imprint (releasing the earliest recordings of Cate Le Bon, Beth Jeans Houghton and Maxine Peake) housed in the anti-office of Andy Votel’s Twisted Nerve label.

Having recorded nine critically acclaimed self-penned solo albums Jane has also written and recorded with a wide range of multi-disciplined artists featuring pioneering ‘lost’ musicians (Wendy & Bonnie, Suzanne Ciani, Cybotron and Suzanne Christie) as well as non-conformists (Demdike Stare, Dave Tyack and The Focus Group) and high-profile friends and supporters (David Holmes, Damon Gough, Dave Brock).

‘The Silver Globe’ was, in Jane’s own opinion, her most complete and realised commitment to vinyl to date and was released via her own Bird Records imprint in late 2014 garnering instant accolades. Gilles Peterson gave the first single ‘Don't Take My Soul’ a Top Ten place in his best tracks of the year adding to the unanimous support of radio DJs like Jarvis Cocker, Marc Riley, Stuart Maconie, Lauren Laverne and Mary Anne Hobbs. Early DJ mix encouragement has also come from the likes of Andrew Weatherall and Beyond The Wizards Sleeve.

Signing to Fire Records, 2017’s lauded follow up ‘Modern Kosmology’ saw the melodic-protagonist channel new depths of creative cosmic energy moving from science to séance. ‘Modern Kosmology’ is a model student of second-hand Krautrock, female punk, hard-subbed new-wave, synthesizer skip-finds and unpronounceable worldly feminine pop that saw her reach another eureka moment.

Accumulated in the ‘Loops In The Secret Society’ AV tour bringing both albums together, a visual live album of the performance soon followed revealing yet another dimension to her creativity in the lab-friendly blossoming of the Weaver vision.

‘Flock’ is an untested fusion of seemingly unrelated compounds fused into an eco-friendly hum; pop music for post-new-normal times. Created from elements that should never date, its pop music reinvented. Still prevalent are the cosmic sounds, but it is a natural rebellion to the recent releases which sees her decidedly move away from conceptual roots in favour of writing pop music.

Jane’s lesser known creative endeavours have also seen her contribute sound installation projects to labels via Manchester's Boomkat experimental imprint, various international theatrical institutes as a film re-composer, as a compiler for Finders Keepers records, and as an author of children’s books based on her visual collaborations with Klunkclick (Yo Gabba Gabba / Bobby Conn).

Meanwhile her presence as a live performer has been requested by the likes of Jarvis Cocker, Guy Garvey (Meltdown), Laetitia Sadier, Richard Hawley, Josephine Foster and Gruff Rhys and has flexed her knowledge in the DJ booth as a one-time member of Sean Rowley’s Guilty Pleasures DJ team. Jane’s music has appeared in fashion campaigns for Chanel, Chloe and Mulberry plus a wide range of TV and Cinematic productions including the soundtrack to ‘Kiss Of The Damned’ directed by John Cassevetes’ daughter Xan, the award winning second series of ‘Killing Eve’ and new film 'The End We Start From' released in 2024.