Face Like Thunder

Have you been looking for a new, underground, queer, British indie-pop artist who combines her minimalist production with emotional complexity within her writing? If that resonates with you, you’re in the right place! May I introduce you to: The Japanese House.

The Japanese House, known personally as Amber Mary Bain, was born in Buckinghamshire, England. She began writing music in 2012 after being introduced to Matty Healy of The 1975 who started to produce her music under his label, Dirty Hit. If you are listening in on the indie-pop music scene, you might know a few of her hit songs, like “Touching Yourself” or “Apple featuring the japanese house,” which was released on Charli XCXs alternative version of her album, Brat. 

Within her music, The Japanese House relies heavily on her androgynous vocals, her outright love for women and the heavy use of electronic production. In a lot of her songs, you can hear how The 1975 has influenced her production. Similarly to The 1975, she uses ethereal synths and layered vocals but brings a fresh take that feels more genuine than the counterpart. This could, in part, be because George Daniel, drummer and producer of the 1975, has been credited on two songs, and Matty Healy is credited on several other songs.

While the influence is apparent, it doesn’t feel like copying or stealing; it just makes the music more appealing. If you’re a fan of The 1975, particularly their albums Being Funny In A Foreign Language or A Brief Inquiry Into Online Relationships, then you’re bound to love The Japanese House, and how she chooses to bounce off their discography in an exciting way. 

Diving into The Japanese Houses catalog, she has two albums, In The End It Always Does (2023), and Good At Falling (2019). She released her first EP on Spotify, Pools To Bathe in, in 2015, this was followed by three other EP’s that led up to the release of that first album. The EPs released were entitled Clean (2015), Swim Against The Tide (2016), and Saw You In A Dream (2017). Each featured four songs and was released onto Spotify as singles. 

The highlights from In The End It Always Does include: “Morning Pages” (Feat. MUNA), “Sunshine Baby” and “Boyhood.” These tracks capture the essence of this album entirely; the lyrics are beautiful and captivating, and the beat is light and airy in an incredibly elaborate and intriguing way. This album, at its core, evokes the queer experience, the sorrow and the yearning that comes with an already complex love. 

From Good At Falling, we have “You Seemed So Happy,” “somethingfartoogoodtofeel” and “Follow My Girl.” Because this album is her first, this is more experimental, which makes it feel a lot more raw. This music is incredibly unique and tells a direct story of feeling queer love and the tribulations that come with that. The roughness of the album gives it its identity and makes listeners feel like they’re getting a sneak peek inside of her mind. As a body of work, it does a great job of establishing who she is to the music industry and her listeners. 

On June 18th, 2024, The Japanese House released a new single “:),” which is her most 1975-esque song. It is most similar to their song “Wintering.” When you strip down the song and take away the lyrics, the songs both feature the usage of synthesizers, acoustic guitar and clear inspiration from 80s synth-pop and indie rock. They also share similar themes of loneliness and longing for connection that, combined with the soft melodies and subtle electronic elements, make for a beautiful sound.

The Japanese House is more than just an artist. She's a storyteller, a visionary and a pioneer for the indie-pop scene. Her music is a testament to the power of vulnerability and honesty, the beauty of imperfection and the enduring nature of human connection. Whether you're a longtime fan or a newcomer to her music, there's no denying that her music is incredibly unique. If you give her time in the light, she might leave a significant impact on the indie music scene and the industry as a whole.

Give some of her songs a chance, and if you do, tag us on our socials @theedgemag !!!