In the End It Always Does is a New Beginning for The Japanese House
At the end of June, the long wait for The Japanese House’s next project was finally over with the release of her sophomore album, In the End It Always Does. The Japanese House, also known as Amber Mary Bain, presents a versatile variety of musical genres to the table with their latest record, predominantly featuring elements of indietronica, indie folk, and dream pop. The Japanese House’s hand-crafted lyrics are just as strong as in her previous works, ranging from fun-loving exclamations of joy to some of the deepest, darkest introspective recollections about loss. Bain’s vocal performance is nothing to scoff at, either; her voice always carries a luscious and wispy air about it, perfectly complimenting the album’s poetic writing and supple production.
While some tracks do take a few listens in order to fully appreciate all of the thoroughly designed aspects, In the End It Always Does never really seems to falter in any area. The Japanese House remains consistent in delivering a fantastic experience with each and every song, exploring a widespread emotional entourage in each and every track.
Sonically, all of the songs exhibit a positive and bright sound, whether it be closer to lonely optimism or genuine euphoria. With gentle synths and tender string plucks serving as the backbone in the instrumentals for the majority of tracks, it’s hard for Bain not to curate the feeling of a warm, comforting embrace in each and every song. The Japanese House wonderfully conveys both feelings of yearning and anguish as well as adventure and exuberance through her lyrical content and vocal performances on her latest record.
The lead single “Boyhood” perfectly encapsulates the energetic and intrepid side of In the End It Always Does. “Boyhood” is the first breath outside on a cool, spring morning. “Boyhood” is dancing in the rain. “Boyhood” just feels right in a sense that is hard to properly describe without feeling too verbose. The Japanese House utilizes the upbeat synths, airy vocals, and rustic instrumentation to make the listener feel as if they are the main character in a movie. “Boyhood” is fun and refreshing, serving as an exceptional and critical piece of Bain’s sophomore album.
Amber Bain with her dog, Joni via Instagram
The Japanese House is not afraid to discuss topics that are inherently intimate and vulnerable in nature. The song “Touching Yourself” perfectly represents Bain’s willingness to explore personal feelings about physical and romantic affinity. The song begins sonically and somewhat lyrically upbeat, exploring sexual attraction and the overwhelming swarm of emotion such a bond can create between two people. However, the intensity of the lyrics slowly starts to escalate as the narrator portrays the connection as much more than just amorous; The Japanese House sings that “[I] know I shouldn’t want it but I need attention / know I shouldn’t say it but I had to mention / it makes me wanna die every time I have to / picture your face.” “Touching Yourself” is a standout track on In the End It Always Does, fearlessly exploring themes of codependency, passion, and disquietude.
The album closes with the track “One for sorrow, two for Joni Jones.” While the song still has some bright pops and synths, the majority of the song is built around somber and melancholic piano played alongside accompanying strings. The ballad examines the difficulty of life and the natural changes that come alongside it, but Bain expresses a consistent sense of groundedness and peace throughout her relationship with Joni Jones, her dog. The Japanese House sings that “no, that’s just how I get into the trap / no one’s ever going to love me / like this dog lying in my lap.” Despite the burdens that love, loss, and self-doubt can impose upon a person, everlasting and pure connections like one between a person and their pet can be essential to heal the soul. While it’s hard not to tear up when hearing any song about man’s best friend, Amber Bain writes an especially emotionally riveting track dedicated to her best friend with “One for sorrow, two for Joni Jones.”
In the track “Sunshine Baby,” The Japanese House sings that “I can’t help … putting off the end ‘cause in the end, it always does,” gifting the vaguely insightful phrase to the album’s title. In the End It Always Does can be both a comforting and fearful sentiment, as our pains, our joys, our sorrows, and our love will always come to their conclusions. Nonetheless, “Sunshine Baby” also provides us with the wise advice to “hold on to this feeling ‘cause you won’t feel it for long.” In the end, it always does and always will. There is nothing that can change the inevitable, but The Japanese House’s sophomore album provides a shift in perspective; In the End It Always Does beckons listeners to act like the main character, to embrace every ounce of love that we can, and to fight through the pain, because we will never know when the opportunity to feel will be just out of our reach.