Album Review: The Japanese House - Good at Falling
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If four EPs were an introduction to The Japanese House, Good at Falling, set for release via Dirty Hit on March 1st, marks the maturity of Amber Bain’s own brand of dreamy soft-pop. Revealing a new focus both musically and lyrically, Good at Falling might be her most upfront material so far.
have crafted a unique perfection and prove to be more than worth the wait. Amber Bain's craft comes in building something out of the rubble. Rather than being swallowed up by an Alice In Wonderland-esque rabbit hole, Good at Falling champions emotion whilst building upon the shimmering indie-electronica that mesmerized fans from Bain’s beginnings.
Good At Falling is out on March 1st via Dirty Hit.
The Japanese House - Good At FallingAgainst a background of EPs put out between 2015 and 2017, Bain had already released an album’s worth of material, honing the sound and feel of her intricate dreamscapes. Yet, with frequent tours with Dirty Hit label friends, The 1975 and Wolf Alice, her full-length debut feels a long time coming. With thirteen perfectly crafted tracks, Good at Falling is an album full of new, drawn from a transformative period with admirable honesty and vast production. Opening track ‘went to meet her (intro)’ begins the album with layered androgynous vocals and tribal-like drum percussion. With some of the most elaborate production to date, the distorting warp and rolling beat effortlessly journey through autotuned talk before seamlessly meeting with ‘Maybe You’re the Reason’ - a track articulating the experience of half-living when in the absence of love. Pieced together by the plucking of a guitar, Bain’s aesthetic confidence offers a search for meaning as she sings “And I think I’m dying / ‘Cause this can’t be living / Should I be searching for some kind of meaning?”. Current single ‘We Talk all the Time’ continues the thought of relationships whilst reverberating through a myriad of autotuned vocals and instrumentation. As a single track with an abrupt ending, the comedown feels better shaped in Good at Falling as the pulsating tones continue into ‘Wild’. The two tracks could almost be one, with exception of the latter undergoing a hypnotic synth treatment with heavy influence from The 1975’s Matty Healy and George Daniel (who have frequently co-produced for Bain in previous years).
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