In 2019, The Japanese House, otherwise known as singer Amber Bain, released her first studio album, “Good At Falling,” placing a stepping stone that would lead her to massive collaborations on her sophomore project, “In the End It Always Does.” Co-produced by The 1975’s drummer and producer George Daniel and producer and engineer Chloe Kraemer, Bain catches up listeners on her private life, especially after four years between releases.
In an interview with Apple Music, the singer admitted the writing process of this album was challenging, saying, “It was this weird, really expansive time where I was like, ‘I can’t think of anything to say.’” Yet, it seems like Bain was able to capture everything she wanted to say in the span of 12 songs, each one pointing at her past relationship with a partner, as well as herself.
However, for a sophomore album, Bain continues to stay in a state of comfortability, only pushing herself on a few key songs that make this album worth listening to. For example, “Sunshine Baby” is a song that is upbeat, but utilizes extreme lyricism about heartbreak. Featuring a controversial appearance from The 1975’s frontman Matty Healy, the two sing about the realization that you’re losing a lover.
They sing, “Sitting in the back seat, driving with my sunshine baby / Well, I’ve gone a little crazy, surely, someone’s gonna save me,” and it perfectly encapsulates the fear and acceptance of losing someone you love.
Another great moment from Bain is right on the second track of the album, “Touching Yourself.” Not wanting to admit that she’s sexually attracted to someone else, the singer creates one of her first pop-rock songs that grooves and sees her belt out the feelings that come with having a crush. With this, Bain proves she has a subtle swagger to her sound, especially with its bold lyrics and theme of self-pleasure.
While songs such as “Spot Dog” use experimental instrumentation through synths and voice altering, there’s others that get lost amongst the tracklist such as “Indexical reminder of a morning well spent” and “Baby goes again.” Maybe they’re symbolic of Bain’s mental state, as she seems to be stuck in the darkness following a breakup, but the tracks don't leave any lasting mark on listeners.
“Sad to Breathe” helps Bain regain her strength, starting off as a piano ballad and turning into a borderline hyperpop song thanks to Daniel’s drumming about trying to move on from a loving relationship. She sings, “'Cause you're right and I'm trying / To change myself but it's tiring / And I go to bed, and I'm crying / 'Cause it's sad to breathe the air / When you're not there,” and it makes a song with such sad lyrics actually one you can bop your head up and down to.
A surprising collaboration comes on “Morning Pages (feat. MUNA),” as MUNA’s Katie Gavin harmonizes with Bain about resorting back to a person who continuously plays with your heart. With guitars, drums and strings complimenting the two singers, this song isn’t necessarily anything special, but it is proof that Bain can relate to not just her audience, but other artists, about the endless cycle of in an on-again off-again relationship.
Following comes “Boyhood,” another track where we see Bain admit to wanting to better herself after only finding her identity in a former lover. “I could have been somebody else / But I’ve been looking out for me / It doesn’t matter what I tell myself / For a moment there I swear I saw me,” and lyrics such as these prove Bain’s expertise at songwriting.
There’s a few times where Bain sounds like she’s copying off The 1975’s sound though, which makes Daniel’s co-producer role a little overkill at times. It’s especially evident on “Friends,” and it shows no sign of originality or growth from the singer. Even if it is a song about falsely moving on from someone, it just doesn’t fit on the album compared to the maturity of its other tracks.
Overall, “In the End It Always Does” is not perfect and that is okay. There’s highs and lows, symbolic of one’s mental and emotional state after getting out of a relationship, but Bain has also matured within her lyrics and vocals. It’s worth the listen even with a few bumps in the road, making it a great summer album.
Rating: 3/5
