THE JAPANESE HOUSE
RELEASES ITEIAD SESSIONS
FEATURING NEW VERSIONS OF SONGS FROM ACCLAIMED SECOND ALBUM IN THE END IT ALWAYS DOES
+ COVER OF ABBA’S ‘SUPER TROUPER’
2024 UK TOUR ON SALE NOW
Praise for In the End It Always Does
“cools and shimmers its way through a delicious range of nuanced moods and subtly layered musical ideas” – The Independent, 5*
“a sadder and more candid album from a great songwriter” – Evening Standard, 4*
“Amber Bain has an eye for the details that the rest of us forget the moment they are out of field of vision.” – The i, 4*
“A record of uplifting joy stemming from life’s setbacks, heartbreaks and hurdles” – Dork, 5*
“If there’s one thing that the second Japanese House album reaffirms – it’s that the artist never surrenders any less than her whole self to the process” – NME, 4*
“a magnum opus of love, heartbreak and some genuine pop perfection.” – Clash, 8/10
“some of Bain’s most sincere songwriting” – Gigwise, 8/10
The Japanese House releases ITEIAD Sessions, a collection of live versions of songs from her acclaimed second album In the End It Always Does, out now via Dirty Hit. The release arrives shortly after the announcement of her 2024 UK headline tour, set to take place in May next year.
ITEIAD Sessions features a never before heard alternative live version of In the End It Always Does standout ‘Boyhood’, and a stripped-back cover of ABBA’s hit ‘Super Trouper’. Alongside the two new tracks, ITEIAD Sessions also includes previously shared live versions of the singles ‘Sad to Breathe’, ‘Touching Yourself’, ‘Sunshine Baby’ and ‘One for sorrow, two for Joni Jones’.
ITEIAD Sessions
- Sad to Breathe
- Touching Yourself
- Sunshine Baby
- Boyhood
- One for sorrow, two for Joni Jones
- Super Trouper
The Japanese House’s 2024 UK tour will see her play her biggest headline show to date at London’s Roundhouse as well as nights in Glasgow, Birmingham and Manchester, following sold out UK and North American headline tours this year. Tickets are available now via thejapanesehouse.co.uk/tour. See below for full dates.
The Japanese House 2023 / 2024 Live Dates
NEW DATES IN BOLD
2023
NOVEMBER
23 – Vancouver, BC – Vogue
24 – Seattle, WA – Neptune Theatre
25 – Portland, OR – Revolution Hall
27 – Salt Lake City, UT – Salt Lake City Union Pacific Depot
28 – Denver, CO – Summit Music Hall
30 – Lawrence, KS – Liberty Hall
DECEMBER
1 – Des Moines, IA – Wooly’s
2 – Minneapolis, MN – Fineline
3 – Chicago, IL – Metro
5 – Detroit, MI – Majestic Theatre
6 – Toronto, ON – Danforth Music Hall
8 – Montréal, QC – Studio TD
9 – South Burlington, VT – Higher Ground – The Ballroom
10 – Boston, MA – Roadrunner
2024
MAY
7 – Glasgow, UK – SWG3
8 – Birmingham, UK – O2 Institute
9 – London, UK – Roundhouse
10 – Manchester, UK – Albert Hall
It’s been nearly a decade since Bain’s break-out in 2015, back when The Japanese House was a mysterious unidentified figure shrouded in mystery and reverb. These days though, Bain’s sound and style is characteristically wide open, her vulnerabilities, thoughts and innermost feelings stitched into a tapestry of gorgeous, elevated pop music.
Much of In the End It Always 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, In the End It Always Does 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 then we all fell in love at the same time – and then one of them left,” Bain’s 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,” Bain says. “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.”
LISTEN TO IN THE END IT ALWAYS DOES
The Japanese House is the acclaimed project of Amber Bain, who has released music under the pseudonym since 2015, and shared her debut album Good at Falling in 2019. Since her emergence in 2015, The Japanese House has received industry-wise acclaim from The Guardian (“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 1 and more.
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