THE JAPANESE HOUSE
SHARES NEW SINGLE
‘ONE FOR SORROW, TWO FOR JONI JONES’
Video Here: https://www.youtube.com/
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NEW ALBUM IN THE END IT ALWAYS DOES
OUT JUNE 30TH VIA DIRTY HIT
The Japanese House shares new single ‘One for sorrow, two for Joni Jones’, the closing track on her forthcoming second studio album In the End It Always Does, out 30th June via Dirty Hit. Written with MUNA’s Katie Gavin and co-produced by The Japanese House’s Amber Bain with Chloe Kraemer, ‘One for sorrow, two for Joni Jones’ is a stripped-back track soaked in glimmering piano, named after Bain’s sausage dog, who is in turn named after Joni Mitchell.
Of the track coming to life, Bain explains: “This is my favourite song, and I wrote it as a piece ages ago when I was playing the piano and [producer] Chloe would record me playing the piano loads with my dog on my lap. We sat on the music for ages then Katie from MUNA came down to the studio and put the rambling lyrics over music in a Joni Mitchell kind of way.
“I’m trying to encapsulate that feeling, a sort of ode to that feeling when Emma Thompson stands there and cries when she’s holding the CD in Love Actually. The lyrics are about the confirmation that my relationship was dead, and it’s the only song I’ve ever cried during the vocal take which has never happened before.”
The Japanese House recently announced a headline tours of the UK and North America in October and November. The tour will follow Bain supporting The 1975 at their sold out Finsbury Park show on 2nd July, and see her play shows in Glasgow, Manchester, Birmingham as well as a sold out stop at London’s Outernet. See below for the full list of dates.
Listen to ‘One for sorrow, two for Joni Jones’
Pre-order / pre-save In the End It Always Does
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.
Featuring the singles ‘Sunshine Baby’, ‘Sad to Breathe’ and ‘Boyhood’, 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.”
In the End It Always Does tracklisting
Spot Dog
Touching Yourself
Over There
Morning Pages
Indexical reminder of a morning well spent
Friends
Baby goes again
You always get what you want
One for sorrow, two for Joni Jones
Pre-order / pre-save 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.
The Japanese House live dates 2023
JULY
2 – London – Finsbury Park (w/ The 1975)
OCTOBER
12 – Glasgow – SWG3
14 – Newcastle-Upon-Tyne – Newcastle University
15 – Manchester – New Century
16 – Nottingham – Rescue Rooms
18 – Bristol – The Trinity Centre
19 – Oxford – O2 Academy Oxford
20 – Southampton – 1865
22 – Birmingham – O2 Academy Birmingham
23 – London – Outernet
24 – Brighton – CHALK
NOVEMBER
1 – Philadelphia, PA – Union Transfer
2 – New York, NY – Webster Hall
4 – Washington, DC – 9:30 Club
6 – Carrboro, NC – Cat’s Cradle
7 – Atlanta, GA – Buckhead Theatre
8 – Nashville, TN – Marathon Music Works
10 – Austin, TX – Emo’s
11 – San Antonio, TX – Paper Tiger
12 – Dallas, TX – Granada Theater
14 – Santa Fe, NM – Meow Wolf
16 – Phoenix, AZ – The Van Buren
17 – San Diego, CA – The Observatory North Park
18 – Pomona, CA – The Glass House
20 – Los Angeles, CA – The Fonda Theatre
21 – San Francisco, CA – The Fillmore
23 – Vancouver, BC – Hollywood Theatre
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 – El Club
6 – Toronto, ON – Danforth Music Hall
8 – Montréal, QC – Studio TD
9 – South Burlington, VT – Higher Ground – The Ballroom
10 – Boston, MA – Royale