Sound Of 1975…
[Video][Website]
[5.18]
Nellie Gayle: The Japanese House’s reverb is atmospheric and almost transcendental, but without sacrificing a real, true narrative. Almost like a spoken word poem, “Face Like Thunder” tracks a typical young love but paired with almost warbling vocals and dark yet hopeful melodies. Amber Bain has the rare ability to make music that pairs equally well with being in love, being in the midst of a bitter breakup, and just being adrift. As someone who has inhabited all three states in the past year, “Face Like Thunder” fits into every nook and cranny of my 2016. Can you dance around the room to a song that once made you cry? Sure, why not. Amber has built a house of memories we can all visit.
[8]
Alfred Soto: It has the shimmer and lopsided gait of a Haim number: a face like mist.
[5]
Will Adams: It’s like a MUNA song that never takes off. While there’s value in the concept of a more wistful, downcast take on 80s synthpop, the half-written chorus fails to elevate “Face Like Thunder” above mere pleasantness.
[5]
Micha Cavaseno: I do not like the hook, nor do I find anything particularly rewarding about trying to assemble indie out of the ghosts of Imogen Heap and James Ferraro. In particular, the vocals here take a voice so generic and turn it into an unwelcome texture of artificial quavers, like when toy quartz flakes off and reveals grey beneath. But you tried, y’know? You could’ve tried with coming up with a good name for your band but hey, I expect too much.
[4]
Dorian Sinclair: Leaving aside the questionable decision-making inherent in a white Briton performing as The Japanese House, “Face Like Thunder” is a pretty inoffensive, dreamlike piece of music. The title metaphor, though, led me to expect something a lot darker and broodier — and the rest of the lyrics do nothing to change that impression.
[4]
Ryo Miyauchi: Thunder as a force of nature to compare her crush sounds a little… off. Her sighs and the music’s tender funk give tactile form to a rough sketch of what they might resemble: comforting, elusive and shape-shifting — fleeting, definitely, but far from an electric presence. Might I suggest “like a body of water”?
[5]
Ramzi Awn: “Face Like Thunder” boasts a top-notch beat with a lot of words. The result is an exceptionally composed near miss that manages to stay on its feet. Some more editing could have made better use of the synths. Overall, The Japanese House shows off their potential more than anything else.
[5]
Josh Langhoff: “I couldn’t speak so I slurred,” goes the precisely slurred opening line. Sounding like the glistening aftermath of a storm, Amber Bain layers delicate 16th note bustle under her voice, drums to synths to guitar, coaxing mood and texture from a tale of post-argument incoherence. It sounds very 1975, i.e. very ’80s; which is to say “face like thunder” makes me think of Dolph Lundgren, who makes no appearance in the video.
[7]
Claire Biddles: “Face Like Thunder”, like all of The Japanese House’s records to date, is produced by George Daniel, The 1975’s drummer and sonic genius, which isn’t so surprising considering its makeup of sunny 80s synth sounds. I’m a huge fan of The 1975, so naturally from my biased position all I can do is compare the sub-Shura feel of “Face Like Thunder” to more breezy recent The 1975 songs like “She’s American,” which leaves The Japanese House falling short. Amber Bain isn’t the strongest or most charismatic of singer songwriters, which shows against the bombast of this track. I’m glad that The 1975 are working with young women musicians, but this feels decorative where their songs feel vital.
[4]
Megan Harrington: Amber Bain is plain and restrained in a way that I find deliberately boring and inaccessible. George Daniel provides memorable production, but the result is something gloppy and confusing: feel good ’80s nostalgia with an affectless vocal.
[5]
Thomas Inskeep: The pairing of 1985 open-synth sonics and heavily processed vocals is interesting. Not great, necessarily, but interesting, at least.
[5]