Amber Bain lanza In The End It Always Does, he second studio album by The Japanese House, a collection of twelve songs that confirm his ability as a lyricist to touch sensitive chords, and compose brilliant musical songs. Laid back pop that leans towards Rhythm & Blues is the ideal space for her to lraise your voice, in verses and choruses that express the bittersweet of love.
In the production of the album we find Chloe Kramer (Mumford & Sons, Glass Animals) and the drummer and producer of The 1975, George Daniel. This results in a combination of refined pop with well-done samples, coexisting with some modern folk. The new album by The Japanese House maintains the balance between both genres and above all, between the danceable and the more contemplative.
The Japanese House explores a refined pop that goes beyond
The excellent Good At Falling (2019) by The Japanese House had already shown us that Amber is extremely talented when it comes to making a pop with a lot of attention to detail, and he continues to amaze us with his ability to tell modern love stories with a fresh perspective.
And “Friends”, Amber narrates being in a complicated relationship with more than one person, and communicates frustration and anger in a song that is even danceable. Just in 45 minutes The mastermind of The Japanese House walks through the aftermath of a breakupfrom sarcasm to herself, feelings of sadness and desire to return to the past situation.
The Japanese House has all the clarity to divide these feelings and distribute them between a dozen new songs that keep us attentive to what follows in the stories of the English singer.
With the collaborations of FIRST in “Morning Pages” y de Matty Healy of The 1975 on vocal support for “Sunshine Baby”, we noticed Amber’s ability to innovate and explore new sounds. Both collaborations are subtle and bring something new to The Japanese House, which is noticeable without either collaboration sounding overbearing.
Counts that place The Japanese House as a modern singer-songwriter to follow
With undeniable influences, we dare to say that of Joni Mitchell or Kate Bush, Amber Bain has her own voice and an enviable eloquence. It seems that in direct roles like “Touching Yourself”, conveys the desperation of wanting someone but not being able to have them, and at the same time makes us dance on strings that we would normally find in songs of folk o americana.
The chords of “Baby goes again” give her voice even more room to shine, and the confession of not feeling very well where she is is a kind of catharsis that Amber Bain finds to express themselves through music. With exponents like Faye Webster or Angel Olsen, The Japanese House finds itself in a surge of artists bearing the folk to the contemporary naturally.
At 27 years old, we love to think there’s a great future for The Japanese House.and it is that these combinations between classical guitars and synthesizers give Bain’s project its own personality, which we can easily identify.
The clearest sign of the importance of Amber Bain as the voice of a new generation of folk that experiments with new elements we find it in “Indexical reminder of a morning well spent”, a little gem that is in the middle of the album, in which he reminds us of sunrises between strings, simple synthesizer bases and subtle games with his voice as lead and support.
The Japanese House not only shined with their second studio album, but also released a lot of merchandise to celebrate In The End It Always Doeswith signed material and physical versions of colors that you can find in your website.
Amber Bain is currently on tour in Europe, and by the end of the year she will be in the United States, so Let’s hope he deviates and takes a walk here, because since Corona Capital 2019 we haven’t seen The Japanese House in Mexico.
