The Japanese House aka Londoner Amber Bain, primarily inspired oodles of interest concerning her elusive music last year. Remarkably, Bain is refreshingly and moderately untouched by the internet – owing to her unique and intangible identity. The obscurity of The Japanese House together with Bain’s escalating SoundCloud listeners; helped establish her into a world in which she has her own distinctive, individual brand. Bain is now on tour with indie giants The 1975 around the UK, and her song Still was even Zane Lowe’s last ever hottest record.
So what is it that makes The Japanese House so extraordinary?
Late last year, The Japanese House released a second EP, Clean. Bain told The Fader that Clean is about; ‘The clean light a good person can shed on you once they forgive you.’ Similar pure lyrics are recurrently voiced throughout the four-song EP, which is bursting with placid beauty. Amazingly, Bain interprets multiple personas through Clean. Her voice is androgynous, raw and full of authentic spacey layering.
Amber Bain’s experimental synthpop is twangy, ragged, and glued together with interchanging alt-pop synthesisers – Bain told DIY that she preferred melodies when they are ‘surrounded by others.’ One song from the EP Sugar Pill, is soaked in melancholic woozy pop – with its blue undertone frequently dipping into the general alien pop vibe of the song.
Meanwhile, the EP titled song Clean is racked with deeper enhanced vocals. It’s a crisp surge of shimmery magical air, set against husky vocals. Remaining songs Cool Blue and Letter by the Water, show how Bain is bringing something metaphorically different to her lyrics. It’s this majestic uniqueness in Bain’s compositions that are hyping up The Japanese House to be a very likely act to watch for the future – well that and the fact that the entire project is named after Kate Winslet’s house.