Dirty Hit boasts one of the most exciting and thrilling rosters of any indie label in the world, exporting some of the hottest names in the sphere of alt-pop (and further afield) for over a decade. From arguably the world’s biggest band – The 1975 – to the critically acclaimed pop superstar Rina Sawayama, the label is a bustling hub for futurist talent. And while the roster is well and truly stacked, The Japanese House has always remained a shining light, a unique and innovative beacon of luscious indie pop. The brainchild of singer, songwriter, multi-instrumentalist and producer Amber Bain, The Japanese House rose to prominence in the late 2010s. A slew of sparkling singles and extended plays solidified the polymath as an incredibly distinctive individual, culminating in ‘Good At Falling’ – Bain’s 2019 mesmerising debut record. After a hiatus of over four years, Amber Bain – The Japanese House – has finally returned with her sophomore record, and the result is a magnum opus of love, heartbreak and some genuine pop perfection.
Written during a burst of inspiration at the tail end of 2021, ‘In The End It Always Does’ flows effortlessly, a melancholic package of rich ambient tones and expertly executed pop moments. Opener ‘Spot Dog’ is playful, an overture to the record, improvised-style piano and string motifs dissolving into an electronica-fuelled almost acoustic ballad – it’s like if Aphex Twin took a raw The Japanese House moment and completely destroyed it, the result becoming beautiful chaos.
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‘Touching Yourself’ is one of the more upbeat instances on the record, a mellow dancefloor anthem rich with innuendo and delightful earworms. The tone across ‘In The End It Always Does’ is distinctly The Japanese House; a more fleshed out and coherent answer to her previous efforts. Her collaborators across the record have also proved to be the exact arsenal Bain needed to bring her world to life, with Matty Healy, George Daniel, Katie Gavin and Justin Vernon all lending a helping hand. Despite the extra assistance, Bain’s vision is never once compromised, the external input subtle rather than overbearing.
The Japanese House has proved that taking some off doesn’t always reduce momentum. In Bain’s case, it’s only increased it, and that time off has culminated in one of the most gorgeous and striking pop projects of 2023 so far. From the sombre moments to the experimental to the straight-up pop, Amber Bain has once again proved her innovation, patience and addiction to her craft is a recipe for pure and utter brilliance.
8/10
Words: James Mellen
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