PHOTO CREDIT: JAY SEBA
UK TOUR // OCTOBER
USA TOUR // NOVEMBER & DECEMBER
IN THE END IT ALWAYS DOES LP // DIRTY HIT
Following her acclaimed second studio album IN THE END IT ALWAYS DOES, released via Dirty Hit in June, and her support to The 1975 at their London Finsbury Park show in July, THE JAPANESE HOUSE embarks on a headline UK tour in October followed by a headline US tour in November and December. Full UK dates as follows.
OCTOBER
Thu 12 GLASGOW SWG3
Sat 14 NEWCASTLE University
Sun 15 MANCHESTER New Century
Mon 16 NOTTINGHAM Rescue Rooms
Wed 18 BRISTOL Trinity Centre
Thu 19 OXFORD O2 Academy
Fri 20 SOUTHAMPTON 1865
Sun 22 BIRMINGHAM O2 Academy
Mon 23 LONDON Outernet
Tue 24 BRIGHTON Chalk
Featuring the singles One for sorrow, two for Joni Jones, Sunshine Baby, Sad to Breathe and Boyhood, In The End It Always Does marked Amber Bain’s (aka The Japanese House) first full-length release since Good At Falling in 2019 and revealed her sound and style wide open; her vulnerabilities, thoughts and innermost feelings stitched into a tapestry of gorgeous, elevated pop music.
Talking about the album title, Amber said at the time: “It’s about falling in love and not wanting it to end but knowing that it always does. I think a lot of people hear the title and think about it in an optimistic way but that’s not what I mean. I hear the title as sad because things always end, no matter what you think is going to happen, but that can also be a positive thing because endings are just a change. It could be the end of a phase in a relationship or something else; it’s cyclical.”
IN THE END IT ALWAYS DOES TRACK LISTING:
- Touching Yourself
- Sad to Breathe
- Over There
- Morning Pages
- Boyhood
- Indexical reminder of a morning well spent
- Friends
- Sunshine Baby
- Baby goes Again
- You always get what you want
- One for sorrow, two for Joni Jones
Much of In The End It Aways Does lives in the contradictory: beginnings and endings, obsession and mundanity, falling in love and falling apart.
Written during a creative burst at the end of 2021, the album is primarily inspired by the events preceding it – including Bain’s first time moving to Margate, being in a throuple and the slow dissolution of those relationships. “[These two people] were together for six years and I met them, and we all fell in love at the same time – and then one of them left,” Bain remembers. “It was a ridiculously exciting start to a relationship. It was this high; and then suddenly I’m in this really domestic thing, and it’s not like there was other stuff going on – it was lockdown.” The album came together just as that chapter in her life was falling apart, with each song almost acting as a snapshot in time.
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,” says Bain. “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.”
Amber Bain has released music under the pseudonym THE JAPANESE HOUSE since 2015. Since her emergence, she has received industry-wide acclaim from The Guardian (“it feels like a refreshing splash of cold water on tear-stained cheeks”) Sunday Times Culture (“stunning”) Pitchfork, i-D, VICE, NME, GQ, Interview Magazine, BBC Radio One and many more.
