Although it’s only February, I must give credit and say that the Japanese House might be one of the most interesting projects I’ve ever this year. We are dealing with a very chilled-out solo electronic alt-pop experience, the likes of which you have probably heard before, but never this good. Make no mistake: This debut record, creatively-titled The Japanese House, is a hipster’s wet dream.

I’ll start by saying that I am not a fan of every track, and the inconsistencies don’t seem to be isolated to any particular part of the record. However, this is more than made up for by the other tracks; I’m thinking of ‘Follow My Girl,’ ‘Lilo,’ ‘Wild,’ and ‘Worms,’ in particular. They sound like this: very odd, feminine vocal melodies that are panned all over the place, overlapping and occasionally harmonising, drawn together by subtle but complex electronic beats. The songs are complicated, moody, and (dare I say it?) a genuinely unique twist on contemporary trends.

It is one of those albums, you’ll be glad to hear, that sound great the first time around, but offer more and more with each subsequent listen. Despite how sleepy and even depressive this record can be, there is more than meets the eye. There is so much going on if one is willing to hear it. This is the case for literally every track. There are rewards for paying attention, and they are prizes to be cherished.

Japanese House represent a shining glimmer of hope in what is undeniably a scene filled with derivative horseshit and undeserved pretentiousness. The record is proof that even the most down to earth styles can produce artistic greatness, if only the artists behind them were willing to put in the effort. Japanese House has put in the effort.

Time will tell if this record will come be seen as a classic of our unnamed decade. But, for me at least, I think it will.

[4/5 Stars]

Zack Moore