THE JAPANESE HOUSE live at HEAVEN in London.

It is with everything to prove that Amber Bain, or The Japanese House as she goes under, takes to the stage at sold out Heaven this Monday. Shooting out of nowhere, The Japanese House has quickly established herself in the prominent position as one to watch.

There is a special kind of anticipation in the air, as the crowd clenches the edge of the stage when the doors open, all so to ensure their best view of the lady of the night.

Amber Bain enters the stage in a cloud of smoke, she glances shyly at the cheering crowd as she emerges into the opening track of the night Clean, taken from her second EP with the same name.

Her dreamy pop bounces of the brick walls and slowly works in symbiosis with the cherishing crowd. Fused with layers upon layers, and a melancholic tingle, she continues with twisted track Teeth, leaving all the room needed for her androgynous vocal to shine in all it’s glory.

Next up hauntingly dark Sugar Pill. Her music is captivating, almost infectious, as it fills the air, causing shivers down your spine. The crowd is captured, taken along on a journey into Amber’s world.

Pool To Bathe In is a particularly outstanding track. It’s a web of noises and drum machine all balanced with Amber’s distorted vocals. Scattered pieces that come together gorgeously fluid in the end. This song is also the title track from her first EP which is well renowned for having production help from non-other than The 1975, whom she also warmed up for, on their US tour, earlier this year.

Her backing for the night is doing a marvel in all its modesty. Though almost invisible through the thick smoke, they lay up a high quality foundation for Bain to play upon.

Addressing the crowd directly, “We have a new EP coming out called Swim Against The Tide, and this is the title track.” This tune is lighter than the previous, with a tropical tint in the synth hook. People are singing along, but over all the performance dabs off as it seems Bain emerges into herself and closes, leaving the crowd alienated.

Though she is very much stood in the same place, this stoic nature actually works in her favour. Making herself a bit of a mystery, Amber lets all attention go to her craft. This is also the reason she drew on the name The Japanese House in the first place, both to shield herself and because of the gender neutrality the pseudonym carries.

The hook on Letter By The Water has Amber break out of her shell, as her voice soar “Water brings my body in, I know she loved me through thick and thin”. The melancholy is definitely her forte.

“Let’s play something slightly less depressive,” she says, smiling apologetic. ”Amber, I love you,” a fan screams. “Thank you! (giggles) This song is called Cool Blue“.  Maybe more hopefully, but it still has that fragile tint that makes The Japanese House.

She takes a moment to thank the warm up acts and everyone that has turned up, still seeming surprised by the sheer amount of people filling the room. “This song is called Sister, it’s really sad as well,” we are not surprised.  Backed by subtle synth, her voice stands alone and bare, a bold move in all its simplicity.

Face Like Thunder marks the first major singalong of the evening, and “Babe, you got a face like thunder,” has even Amber herself twirling slightly. The otherworldly tune is one of her strongest to date, and it’s no doubt that The Japanese House have heaps of talent and potential. “I’m gonna do something lame and take a photo of you all,” she excuses, proving once again why people have come to love her and her down to earth persona.

As she rounds off the set with the beloved track Still, tangling everyone in the net of this cosmic tune, she finally steps out of her comfort zone as she sits down on the edge of the stage, facing the sea of smartphones. The vocals drag out into the synth crescendo, and as the concert climaxes, it is over.

Though encore is demanded, The Japanese House have pretty much out-played her entire catalogue for tonight. Hopefully she will come around with material that gives her current hype it’s needed weight. Though she has proven her capability as a live artist, she still have a bit to go when it comes to fully conform to the live format. The Japanese House will be one to keep an eye out for, that’s for sure.

Photos: Aurora Henni Krogh