THE JAPANESE HOUSE - ‘IN THE END IT ALWAYS DOES’

Writer’s Rating: ⭐⭐⭐⭐

The Japanese House quickly established herself as one of the most interesting acts on Dirty Hit. Her 2019 debut 'Good At Falling' established a blend of airy vocals, catchy hooks and strong instrumentation, a cathartic look into a queer relationship and the ups and downs clearly influenced by real events. 'In The End It Always Does' plays to the strengths from the first album, while also adding new layers.

The instrumentation and production here is a clear standout - handled by The 1975s George Daniel along with other names, thick textures and a heavier emphasis on electronics surround Amber Bains vocals. Creating an atmosphere that feels at home both on a good set of headphones, spinning atop a record player in the intimacy of your own home as it does played loud in a park at a summer festival. The emphasis on production is on the opener here, it's almost three minutes before we hear any distinct vocals, instead relying on pianos, guitars and a gorgeous live string arrangement before Amber Bain delivers a gorgeous vocal display (more on that later)

Thematically the album touches on some familiar topics, love, loss and self acceptance - lead single 'Boyhood' starting with the lyrics "I could've been somebody else - but I was looking out for me". Even during heartbreak, there's peace in loving yourself and your own company. It's a theme that crops up across the rest of the album. Instead of being one long flowing narrative, 'In The End It Always Does' plays more like a poetry anthology: captivating, relatable passages designed to intrigue and inspire.

There's a strong arc of repetition across the record, kicking off with the opener 'Spot Dog', calls of "I Don't Want To Go Yet" echoing out. Tracks like 'Touching Yourself' defer from the expected topic from a track of this name, "it makes me want to die when picturing your face" juxtaposes the ethereal summery production with an almost anger to a past lover whilst 'Sad To Breathe' is sonically more upbeat, with rapid tropical drums and plucky acoustic guitars - despite the heartbroken cries of "I'm trying to change myself but it's tiring - it's sad to breathe the air when you're not there"

It might be bias from me but 'Sunshine Baby' is a must listen - production once again handled by George Daniel and a guest vocal appearance by Matty Healy towards the back end - it's an intoxicating jam "I don't know what's right anymore - I don't want to fight anymore" repeating throughout the chorus. Mattys vocals take a backseat (pun intended) to Amber, not stealing the spotlight but instead harmonising towards the back end of the track.

‘In The End It Always Does’ finds it strengths in conjuring emotion and feeling rarely found in this realm of indie pop. It's a must listen for fans of acts like Phoebe Bridgers or even Bon Iver - there's not a lot that doesn't hit here, between the incredible vocals, stellar production and relatable imagery - and the good news is The Japanese House will be touring this year so there's plenty of chance to hear it live.