Search Results for:

THE JAPANESE HOUSE

The Japanese House

ITEIAD Sessions (RSD24 EDITION)

    THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

    IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.


    ITEIAD Sessions is a collection of live and alternate versions of songs from The Japanese Houseís acclaimed second album In the End It Always Does alongside an intimate cover of ABBAís Super Trouper. Previously only available on streaming, the EP arrives on limited colour vinyl for the first time for this yearís Record Store Day.

    The Japanese House

    In The End It Always Does

      The Japanese House has announced details of her second studio album In the End It Always Does. Featuring recent single ‘Boyhood’, much of the album lives in the contradictory: beginnings and endings, obsession and mundanity, falling in love and falling apart.

      With the announcement comes new track ‘Sad to Breathe’, an upbeat sounding heartbreaker co-produced by TJH’s Amber Bain with The 1975’s George Daniel and Chloe Kraemer accompanied by a beautiful live alternate version of the track directed by Sheila Johansson which sees Amber and her extended live band strip the track back to its bare bones.

      “I wrote Sad To Breathe some time ago, it’s one of the oldest songs on the record.” tells Amber. “It was very different back then; it’s gone from being solely electronic to what it is now, mostly live/ acoustic instrumentation. It’s about that desperate feeling when someone leaves you and the disbelief that they could. It’s funny you could have those kind of insane dramatic thoughts, that feel so real at the time, but can by some miracle look back in fondness to your entire life being ruined. It all circles back around.”

      Four years after her widely celebrated debut Good at Falling, this album sees Bain lean even further into the pop realm–with help from Matty Healy and George Daniel from The 1975, Katie Gavin from MUNA and Bon Iver’s Justin Vernon among others. Bain credits Gavin especially with injecting her with creative energy and inspiration throughout.

      The album also sees Bain work alongside producer and engineer Chloe Kraemer (Rex Orange County, Lava La Rue, Glass Animals), an experience she describes as “life changing” due to the unspoken, shared understanding between marginalised genders in a creative space.

      “I’d never worked with a woman or queer person [in that way] before,” Bain says. “It’s nice to have someone who completely understands your standpoint and shared experience. Also, I say ‘she’ in every song... so it’s important that someone understands that.”



      TRACK LISTING

      SIDE A:
      1. Spot Dog
      2. Touching Yourself
      3. Sad To Breathe
      4. Over There
      5. Morning Pages
      6. Boyhood
      SIDE B:
      1. Indexical Reminder Of A Morning Well Spent
      2. Friends
      3. Sunshine Baby
      4. Baby Goes Again
      5. You Always Get What You Want
      6. One For Sorrow, Two For Joni Jones

      The Japanese House

      Good At Falling

        With a debut album, timing is everything. Too quick, and it can fall on deaf ears, too much unknown in its significant running length. Too long, and any initial buzz has long worn off, an opportunity missed. The Japanese House, however, arrives at ‘Good At Falling’ with steady momentum, carved out over four EPs that saw her graduate from introverted, hushed bedroom pop to fleshed-out, soaring pop. On her debut album, all this progression and promise comes fantastically good.

        Amber Bain’s music has always been personal, but meanings have often been shrouded under swathes of production. A world of personal upheaval during the writing and the recording of ‘Good At Falling’ meant her subject matter was unlikely to get more obtuse, but the real power of her long-awaited debut lies in the way these struggles are laid out. Throughout the record, she puts herself in the firing line and lays herself bare.

        Despite the album singing of psychological torment (‘You Seemed So Happy’), dissatisfaction with the status quo (‘Follow My Girl’) and moving on from a defining relationship (‘Worms’) across the record, they’re transmitted via the poppiest music Amber has written to date. After reflecting on “Sharing a house, sharing a life, sharing a home” and how there’s “so much pressure not to be alone” in the verse of highlight ‘Worms’, when she preaches to “invest yourself in something worth investing in” in its big, bright chorus, it sounds like a message strong enough to tattoo across your chest in times when being alone feels just a bit too much to bear.   -DIYmag


        Latest Pre-Sales

        153 NEW ITEMS

        E-newsletter —
        Sign up
        Back to top