The Japanese House – In The End It Always Does

More refined than ever before, but a little lost in its influences.

Review Score:

B+

The Unprecedented Times –

June 30 / 2023

The album makes a lot more sense when you learn that Matty Healy and George Daniel of the 1975, MUNA’s Katie Gavin and Justin Vernon of Bon Iver all had hands on the project. Some of that fun MUNA energy bleeds into a few tracks. The jittery, echoing sounds of Bon Iver’s latest few projects are here. Even more evident are the 1975’s contributions. This album oozes with their stylistic touch, leaning more towards A Brief Inquiry Into Online Relationships than anything else. I like the 1975. I hear a lot of them in this project. I just wonder if I hear a little too much of them. 

But credit where credit is due, Amber Bain is still the driving force behind In The End It Always Does. This is a breakup album, and Amber Bain makes sure to emphasize that. She places unflinching focus on queer relationships on the band’s second album. Her personal stories, including the one told on “Friends”, make for an engaging listen. And it’s nice to hear more of her voice, hidden far less behind filters here than on past tracks.

This album’s best songs lie in its singles. “Sunshine Baby”, “Sad to Breathe” and “One for sorrow, two for Joni Jones” will likely end up being some of my most listened to songs this year. The first two are melodically strong and catchy indie pop tunes. The closer is beautiful in its simplicity, with some revelatory lyricism that stands out, like:

“No one’s ever going to love me 

Like this dog lying in my lap”

I think it’s this stripped back sound that I was hoping to see more of on In The End It Always Does. The strings on “You always get what you want” are particularly beautiful, with airy acoustic guitar passages to accompany them. I found myself most engaged in those moments. But that’s not to say I didn’t enjoy this project. I’m a sucker for some indie pop, even if some of it did wash over me at times. Not in a bad way. It feels almost intended. To this album’s credit, it flows together more than it blends together.

Fans of the band will likely be pleased with their second album, which comes carefully crafted and well produced. Amber Bain’s writing is honest and sweet, with a more forlorn sound than before. But at the end of the day, it remains very recognizable as The Japanese House fans know and love.

Review Score:

B+

Gubb wrote this review. You can’t get mad at Gubb.