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200 years, one life: Shaun Atwood on prison, freedom and redemption. “I have to be a millionaire by the time I’m thirty”

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Written by Amber Williams

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For Shaun Atwood, money and success didn’t just become a goal, it became his definition of happiness and eventually, the definition of his identity. From becoming top stock trader in America in just his twenties, and that still not fulfilling him, to selling 4 million dollars worth of ecstasy and consequently facing a potential 200 year sentence behind the bars of the prison with the highest death rate in America – Shaun was forced to rethink true happiness.

 

Today, Shaun describes happiness as ordinary moments with his three-year-old son, loving wife and every day freedom feeling like a “piece of paradise.” After 8 years of what many would describe as worse than hell, Shaun realised he had no other choice but to neglect ‘society’s enforcement’ of ‘money is success’ – which led him to prison - and start living by a new motto. In our interview with him, Shaun generously spoke openly about his regretful decisions that led him towards imprisonment, the psychological pressures of prison and the lessons he believes young people can learn from his harsh experiences.

 

Long before prison, drugs and the American rave scene, Shaun was a normal boy growing up in Cheshire, fascinated by money and the possibilities of the stock market at the young age 14 and fascinatingly, already investing at 16. Yet, Shaun grew up with the battle of social anxiety and being very self-conscious as a teenager. More seriously, Shaun experienced an incident that left him with long lasting psychological trauma: he was confronted and assaulted by an older group of intoxicated men whilst stopping at a local petrol station to fill up his mum’s car – not long after gaining his driver's license. Although the physical injuries healed, Shaun said that the impact on his anxiety intensified and left long lasting mental scars – making him fear socialising with strangers. Money was also an important part of Shaun’s early life. He had spoken about growing up without financial security, describing a childhood where money wasn’t something that could be simply taken for granted. In our interview, when asked “Would you say these childhood issues drove you to the incessant need for success, money and popularity to prove something to your younger self?” In which He replied “you’ve just nailed my root causes. I had awful social anxiety, but when I started using ecstasy it all went away”

 

For Shaun, the drug initially appeared to offer something he had struggled to find naturally: confidence and freedom from the anxiety that confined him to loneliness. However, his reflection suggests that what felt like a perfect solution at the time was actually masking deeper problems. The beginning of his story therefore raises a more important question about how young people are dealing with problems they don’t yet have the tools understand properly. Rather than seeing his university years – the start of the ecstasy use – as simply a series of isolated decisions, Shaun now connects it to his experiences of social anxiety, his desire to prove himself and the environment he found himself surrounded by. He described this as “self-medicating your own trauma” – a perspective he said he only developed when the “drug cloud” cleared from his head. What began as an escape from social anxiety eventually developed into something far more dangerous.

 

After moving to America for the big stock market trade and working his way up to the top of the firm, earning millions of dollars Shaun decided it still wasn’t enough for him; and started to begin raving again in Arizona rave scenes and vowed to transform Arizona’s party style into Manchester’s chaotic rave scenes – through the use of ecstasy. Shaun described how His drug operation grew from supplying a small group of friends to operating on a much larger scale, with his business eventually becoming associated with the New Mexican Mafia. He also became involved in competition with the ecstasy operation of Salvador ‘sammy the bull’ Gravano, a former Gambo crime-family underboss. The scale of the growing operation meant that Atwood was no longer simply experimenting with drugs or participating in a few rave scenes – he had entered a dangerous world that would be impossible to get out of safely.

 

The ‘cloud’ was eventually shattered by the arrival of the SWAT team – a year after he decided to stop selling ecstasy. Shaun describes that moment of his arrest as the ‘wake up call’ he needed since the first time he decided to take ecstasy. Suddenly, the lifestyle that seemed once exciting was impossible to romanticise.

 

“When the SWAT team came, the cloud lifted out of my head and I thought, how on earth am I still alive? What the hell have I just done with my life?” Shaun states. He realises the people he surrounded himself with played a significant role in normalising his behaviour. He says “I was surrounded by people who were doing the same crazy things I was doing. We were all sliding down the same slippery slope together, reinforcing each others insane behaviour.” Yet, it was his arrest on May 16th, 2002 that brought that progression into focus. Suddenly, the pursuit of money, status and excitement was replaced by the rough conditions of America’s highest death rate prison.

 

After his arrest in May 2002, Shaun spent 26 months on remand before finally being sentenced to nine and a half years. After being asked ‘what would you say was the worst experience in prison?’ Despite all the horrendous physical experiences, Shaun stated that in reality, the worst experience was “psychologically, not knowing what my sentence was for 26 months”. However, Shaun was threatened with a 200 year sentence if he attempted to go to trial. Then came the reality of prison – in which he told us: “When people are getting slammed into walls, being beaten up and killed by other prisoners, and even guards, you go into raw survival mode.” And “every single thing you ever thought you knew about safety has completely going out of the window.” His graphic description of his time in prison is a stark contrast to the glamorous life he had been living before his arrest. The money, the parties and the freedom that had once seemed so important became suddenly irrelevant. Prison stripped away the layers of life he had built for himself, leaving only one thing at his core: survival.

 

The physical conditions of his experience in America’s highest death rate prison, were a constant battle against painful survival or slow death. He recalls large cockroaches infesting the prison, dead rats in the food - in which they called ‘red death’ - infections, bed sores from the Arizona heat, and most importantly the constant adrenaline from being in “raw animal survival mode”. The prison became a world where comfort was an impossible luxury and survival was the currency. During his time in prison, he states he lost 28 pounds of weight due to the extreme mental stress and horrid food conditions. Often the bread was rotting with mould, furriness and hard as brick, ‘We would have to swirl the stale bread in water to be able to make it go down”. Shaun was no longer being treated like a rave God, but forced to live at the very bottom of the food chain. Something as basic as eating had become a daily reminder of how little control he had over his own life.

 

Prison didn’t just build walls around Shaun, it built walls between him and the people he loved. He describes losing his girlfriend of the time whilst he was in prison in which he recalls the memory of being ‘over the phone and crying, but you can't let prisoners seeing you cry as it makes you a target.” His relationships with family, friends and loved ones existed now through a telephone line, stretched across the distance between the life he had lost and the life he was trapped inside. He goes on to tell us that in prison, you have no choice but to reduce yourself to the emotional complexity of a robot – or else your already dead. He undoubtedly regrets the choices that led him to prison, for the sake of his mother: who he said had severe nervous breakdowns from knowing his prison conditions. As the months passed, the psychological pressures began to eat at Shaun’s mental health. The physical walls of the prison were only one form of confinement; increasingly, he found himself fighting a battle inside his own mind. At one point, Sean said he began seeing imaginary cockroaches and hearing voices that weren’t there, due to the extreme physical and mental stress from the conditions in the prison. He was eventually prescribed medication, which he says eventually allowed him to somewhat sleep. Yet, the medication still came with difficulties. “The medication clouded my mind – I couldn’t read or write anymore” he recalled.

 

For someone who had built the foundations of their life upon ambition, intelligence, and making money, losing the ability to read and write represented another loss or control he wasn’t even allowed to grieve. Prison had already stripped Shaun of his freedom but now Shaun felt as if it was beginning to take away his will to live and his identity. The prison to him was beginning to resemble a factory of numbness: different people entered with different stories, but the relentless machinery of fear, isolation and uncertainty threatened to produce the same hollow version of a human being. Eventually, Shaun knew he had to find another way to cope. Meditation became a crucial part of attempting to reclaim his mental health – alongside yoga and martial arts. At first, Shaun said he was finding it impossible to quieten his mind, in which he told us “my mind had gone so fast”. After years of living in a constant state of adrenaline: silence itself had become a stranger. Yet, Shaun pursued meditation even while surrounded by hundreds of cockroaches and rowdy prisoners. Slowly, he began to gain a sense of control and told us “after a while, there was nothing in my mind”. In an environment where almost everything controlled him, his mind became one of the old familiar places he could begin to reclaim.

 

Furthermore, prison also started to not only change his perspective upon himself, but also others. Prison challenged many of assumptions any regular person would’ve carried with them for life. He recalls growing up, and thinking people addicted to heroine were simply dangerous or immoral. Yet, he states living alongside them forced him to reconsider that view. “When I was growing up, a heroine addict was portrayed to me as someone who would rob my grandmother and was someone evil.”

 

Yet, prison exposed him to the stories behind the addiction: stories of abuse, neglect, and trauma.

 

“You hear their stories, of them growing up as victims of abuse and neglect, horror story after horror story after horror story.” He began seeing people through eyes of compassion rather than through eyes of judgment. Additionally, this experience also shaped Shaun’s criticism of the justice system in which he argues that imprisonment worsens people's mental health and addictions severely, that made them get into jail in the first place. He said “they are taking people with awful mental health and forcing them into places where the conditions are so stressful, their mental health and addiction problems are compounded.

 

Eventually, after the battle of uncertainty, the thick prison walls that had defined Shaun’s life began to come down. He was going to be free. After spending so many long years awaiting his release, he discovered that freedom did not feel at all the way he had expected it to. He told us, “being able to simply buy a T-shirt or a simple banana, the freedom I felt that day – that was the height of ecstasy for me.” The man who once believed “I have to be a millionaire by the time I’m thirty” no longer measured happiness in money. After years if having his freedom taken from him, Shaun Atwood discovered that the greatest luxury in life was simply having the freedom of a life to live. He once chased millions, now he counts his blessings in moments. In Shaun’s own words “every day is a piece of paradise”. 

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Beyond the lens: the art of seeing what others miss

Written by Amber Williams

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In a world where almost everyone has a camera in their pocket, what separates an ordinary photo from an extraordinary one? For Gari Jenkins, the answer lies not in the mechanics of a camera itself, but in ones patience to truly see. We live in the modern age of endless images. From hurried photos on our phones to carefully composed portraits, documenting our lives has never been easier.

 

Photography wasn’t always the clear path for Gari Jenkins: initially, growing up he was interested in a life of mathematical pursuits such as engineering, he never thought of himself as a creative person but he stated “photography has given me a means of expressing a different side of myself”proving photography as a vehicle for a means of self expression after spending 41 years in the navy. His experience demonstrates that creativity does not always begin with ‘a natural gift’ but instead is simply the trigger of looking at the word through the eyes of a camera. Although initially self taught, Jenkins recognised that enthusiasm alone could only take his photography skills so far. He says the two weeks course on photography became a defining turning point in his photography journey allowing himself to develop his photography from the ‘odd good photo’ to ‘a lot more constistency’. It wasn’t just learning about how to operate a camera, but to understand what make a photo stand out and evoke something into the viewer.

 

For Gari, street photography is far more than wandering through a place and pressing the shutter over and over again. It requires patience, attention to composition and light and an awareness of the people moving through a scene. “A lot of people look around when walking, but they don’t see anything.” It is a distinction that’s sits at the heart of his photographer philosophy. “Looking is passive, but seeing requires deliberate intention.” A photographer requires the complex skill palette to cut through the busy distractions of everyday life and notice the small details and fleeting encounters that are so easy to let pass by without ever knowing. Yet even years of experience and millions of photos can never guarantee success. “A good photo can require hours of waiting in one place.” Gari says, once he has the frame and composition he wants, he just waits for someone to become the subject of his cameras painting. However, even hours on end still can't promise a decent shot worthy of his approval. Sometimes, he must remain a slave to photographers' luck, patiently hoping for it to stroll into his frame. For aspiring photographers, this is perhaps one of the most important lessons: meaningful photos are rarely produced through impatience.

 

In a world where phone cameras have made photography almost effortless, professional and commercial photographers have struggled now more than ever to stand out amongst the tsunami of digital photos, all competing for attention in an oversaturated digital landscape. So what can differentiate an instagram influencer to a passionate photographer? Gari’s experience with old film camera’s has shaped his philosophy on this issue from the beginning of his photography. Whilst serving in the navy, Jenkins did take the occasional photo - but as he began, each photograph costed 10 pence. This small expense had a big impact on his approach: patience. Each photograph demanded consideration. The scene had to be studied, the composition assessed and the moment deemed worthy all before he pressed the shutter. Today, when hundreds of images can be captured and discarded in mere seconds, he worries that the same consideration and patience is often missing. Too often, moments are experienced through a screen rather than appreciated as they unfold, with their significance lost in the rush to document them. Yet a photographs value can not be measured by the device on which its displayed or is taken on, but by what it allows us to see, feel and understand. So maybe the real problem is not that modern technology has made photography less valuable, but that it has made us less inclined to consider what we are actually capturing. Ultimately, Gari Jenkins’ perspective reminds us that photography isn’t simply about capturing the world as it appears, but about interpreting it through our own eyes. Wether documenting the fleeting moments of everyday life or creates images that challenges society, a photo’s true value lies in its ability to make us feel something beyond the frame. The greatest skill a photographer can possess is not knowing when to press the shutter, but knowing what is worth capturing in the first place. After all, there is a different between looking at the world and truly seeing it.

Charlie Walker: The Explorer Who Travels Not to Conquer, but to Learn

 

Written by Hunter Cameron -Interview conducted by Hunter Cameron and Amber Williams

 

Charlie Walker—A British explorer that embodies curiosity travelling the world on his own two legs. Walker travels across the globe immersing himself at ground level with the world around him. Throughout his expeditions Walker runs into danger when travelling through countries, political tension and even being sent to prison, Walker has faced difficulties along his journeys, however, not difficulties that he could not overcome. Walker explores philosophy, where in an interview that we conducted, he expresses his views on success and societal expectations.

 

From a young age Walker aimed to leave the “stifling village in Wiltshire” where he grew up to explore the world, his main driver? Curiosity. Walker stated how when he was younger, he read a lot of books from many different adventurers, explorers and travellers, who have “been to all corners of the planet”, and what stuck with Walker was something about discovering, even if it is not new to everyone, but new to him, had the appeal. Furthermore, Walker was inspired by these books, leading him to want “to be a travel writer and hopefully leave behind some decent things to read”. Walker took a gap year to Tanzania which kicked off his exploration. He was volunteering and at the end of his trip he had about two months to go and explore. The first thing Walker did, was go “to the bus station and I just got on the first bus that would go anywhere”, he didn’t have planned in his mind to go anywhere specific, but just to explore. In the interview Walker communicated the idea that for him, going to “places that were off the beaten track appeal to me” and that the challenge of getting to these places was really just a means to the end of getting to a place where there are people to chat to.

 

Walker values arriving “the hard way”, he expounds how doing so, gives you an immediate level of immersion and access in comparison to the communities you encounter. Everyone is curious, but everyone’s choice of what to do with that curiosity is different. Walker elaborates how people from other communities are as “open and curious about you as you are of them”, and that it is just a very good way of getting a sense of a place and the people. Later, Walker started to travel by human means, including; cycling, hiking, skiing and kayaking.

 

Throughout Walkers lifetime, he always maintains the mentality of the no “tick-list” he expresses how “There is nowhere I have left and though ‘done, tick’… I’m endlessly fascinated”. Walker rarely looks for specific places to go, he focuses on the journey in front of him, the destination is not the aim, learning along the way is. Walker mentions that he has revisited Papua New Guinea three times, and expresses how every time, it is a completely different experience. With these experiences he conveys that he becomes a much more confident and capable person as opposed to if he had not done “all the things I have done”. Walker has been exposed to unspeakable hardship, where he finds that resilience is often by necessity. Walker speaks about how during his journeys he finds cultures and people who live extraordinarily difficult lives, who have been through “extraordinarily difficult times” with conflicts and wars. People go through unspeakable hardship, and then just put on a grey face and get on with life. Walker believes that “the reason for that is because it is the best thing to do, it’s all we can do”, however, this resilience creates something a lot more beautiful, kindness, human kindness.

 

During his expeditions and journeys, Walker has encountered countless acts of generosity that aided him along his voyages. He has been invited into so many different homes, from people of different cultures. All the way from mud huts, to mosques, to embassies. The act of kindness that Walker explains helped him the most was when he was in Sudan. When traversing the desert, walker sat down by a tree, resting, in the middle of nowhere. He reached into his saddle back to where a scorpion had made its way in. The scorpion stung him on the arm, and immediately he had a rash from along his arm, followed by numbness as well as naturally; a hurting arm. Walker waved down a stranger that was passing by on his motorbike for help. The man told him to leave everything and get on his bike. The man then drove Walker twenty minutes to the nearest town and dropped him off at the hospital. When reaching the hospital Walker was taken care of and given free health care for the next 3 hours. Walker then left the hospital “and though I have to get to my bike, but the guy was sitting on his motorbike under a tree waiting for me, and he drove me all the way back… the guy refused any money from me and nothing had been touched on my bike”. All of Walkers worldly possessions remained where they were left, additionally, when Walker arrived back there was a bottle of water sitting by his stuff. Walker was taken care of, given a bottle of water to help him with the raging heat of the desert, plus all of his most important belongings were left untouched.

 

Walker has repeatedly entered countries and territories with some political tension. He describes these experiences as nerve-racking and fearful but explains how those feelings can only be maintained for so long, as he expresses how exhausting it is to be anxious or scared. Additionally, Walker explains that when he goes into these territories and countries, he thinks that “yes, there are problems here and I need to be careful in certain respects, but at the same time, people here are nice and normal and I should just relax into it as best as I can. On one of Walkers expeditions, he was walking across Arctic Siberia, following frozen rivers and eventually found himself in a town called Tiksi in Russia. He was detained after weeks of trekking through Siberia. Walker was accused of photographing sensitive military sites. Walker was charged with espionage, of which the accusations did not stand. The charges were dropped and Walker was deported back to the United Kingdom after spending a month in a Siberian detention centre. When asked if there was any psychological effect that spending time in this prison caused, Walker articulated that when he was locked up, he was affected by the uncertainty of time that he might have spent there, that he would be charged with espionage and using Walker as a bargaining chip or an example “as they did with numerous other foreigners during that period”. Walker later described that he expected “some sort of lasting impact” but when reaching home, he found himself absolutely fine and he had not noticed any discernible aftereffects.

 

Walker has also shared his views on the breaking of societal expectations with young people. Walker has expressed how throughout his lifetime societal expectations have vastly differed. From his point of view Walker explains how societal expectations have already changed a lot since he was a child, and that nowadays, current societal expectations don’t really apply to every, to Walker “those expectations for many people will be right, they know what they want to do. And for others it won’t be”, he views societal expectations as constructs that follow a rigid path, however, each person should follow their own path. Charlie Walker knew that from a young age that he did not want to have the average 9 to 5 office job, to him, conventionality didn’t matter, but it took him some time to make that work and make it a living rather than just a pursuit.

 

There have been times where during Walker’s expeditions where occurrences have gone wrong, like in his expedition “Following the Line” where 5 days into Walker’s expedition he had to turn back due to an issue with his boots. Walker shared that “There have been a few times where I have started something and have realised that I needed to adjust something to maybe reset or to restart”, but despite setbacks, Walker never gave up. He expressed how starting again after something gone wrong is arguably harder, but it never really crossed his mind. Walker’s advice for people in that situation is that when things don’t go as planned, not to worry about it. “Nothing ever goes to plan, if you have a plan, a well though out plan, where everything goes to plan, you have probably spent too long planning”. Walker conveys how the unexpected is interesting and important part of life, and that a lot of people panic and freak out when things don’t go as they expected, but that is where the fun happens. Lastly, Walker shared that he is looking to learn, that every time he visits somewhere, he hopes to come back understanding more about that part of the world and in his mind, some things about himself. 

Film Reviews

27 years on: The Truman Show review- Peter Weir’s psychological comedy-drama film that is certain make you question the reality in which you live in 

Jim Carrey stars as Truman Burbank, who stars as himself, in a 24-hour television broadcast of his so-called normal life, and we tune in just as he is starting to figure things out 

⭐⭐⭐⭐⭐ 

 

📷: Truman (Jim Carrey) looks up at his fake sky, where a mysterious object has just fallen from… 

Ollie Polkinghorne 

The Truman Show is an existential masterpiece. We follow Truman, played by the great Jim Carrey, living a life of lies on the too-good-to-be-true island of Seahaven, where everyone, from his wife, to his best friend, to the man at the magazine stand, is an actor, and this island is really just a giant television set, with hidden cameras in odd places, such as an electric pencil sharpener, or a car radio. Through these cameras, Truman’s life is being filmed and broadcasted to the world, live, 24 hours a day, 7 days a week. 

We, along with the people of the world in which the film is set, observe Truman as he notices slight anomalies in his life, like a stage light falling from the sky, that is, just ten minutes later, covered up as “aircraft shrapnel”. But the beauty of this film is that it is near impossible to pinpoint the exact moment where Truman connects all the dots and realises that nothing around him is real. Yes, there are some key realisations and discoveries, but the slight glint in his eye could mean that Truman is aware that his life is a performance, long before he makes it blatantly obvious, and is just playing the part and waiting for the perfect time to pounce. 

 This film takes Shakespeare’s famous “All the world’s a stage” quote very much literally, where Truman’s world is, in its entirety, a stage. Christof, played by Ed Harris, is the mastermind behind the spectacle, watching from Truman’s moon like a sort of God, or a father looking down proudly on his son.  

Jim Carrey proves himself able to take on a more serious, emotionally complex role, stepping away from the dim-witted character of Lloyd Christmas in Dumb and Dumber, and the troublemaking Stanley Ipkiss in The Mask, all without losing his iconic goofiness, winning himself a Golden Globe in 1999 for his acting masterclass in The Truman Show. The concept of actors playing actors is reminiscent of the infamous “play within a play” from act 3 of Shakespeare’s Hamlet, and this is expertly executed by Noah Emmerich, being his actor-character, Louis Coltrane, when speaking to Christof, and his actor-character’s character, Marlon (Truman’s best friend), when Truman is nearby. The complexity of the layers of observation and acting is what makes this film so special.  

Andrew Niccol’s ingenious, thought-provoking story, along with Jim Carrey’s masterful acting and Philip Glass’s unforgettable music, create a film that will go down in history as one of the greatest of that era. There was nothing like quite it at the time, and few have dared to try and replicate it since. The Truman Show is simply one of a kind. 

Promising Young Woman

 Director: Emerald Fennell

Written by: Emerald Fennell

Produced by: Margot Robbie, Tom Ackerley, Ashley Fox, Josey McNamara, Ben Browning

 

Review by Lucy Potter

 

Promising Young Woman review- a disturbingly eye-opening, vengeful. fable.Emerald Fennell’s ‘Promising Young Woman’ is a film that weaponises style, tone, and narrative structure to interrogate rape culture with unsettling precision. From the opening sequence, the film positions the audience in moral discomfort using manipulated expectations to expose the violence hidden beneath everyday social behaviour. Fennell’s writing and directory operates through a careful interplay of bright, bubble-gum aesthetics and dark undercurrents. The film’s pastel colour palette, candy-shop costume design and pop soundtrack create what can be described as a “sickly-sweet veneer”, a deliberate semantic juxtaposition that mirrors society’s tendency to gloss over trauma. This is not accidental; it is a form of cinematic irony that forces viewers to confront how easily charm and respectability can disguise complicity. Carey Mulligan’s performance of Cassie, the protagonist we a made to align and sympathise with, employs a controlled yet volatile register, slipping effortlessly between deadpan detachment and bitter humour. Her dialogue is laced with pragmatic ambiguity (speech that appears polite or playful while carrying an underlying threat. This symbolises Cassie’s fractured identity, a woman who performs normality because society refuses to acknowledge her grief unless it is palatable (I know… tragic). Fennell’s use of ‘sweet’ and ‘loveable’ male actors to reinforce the men’s ’nice guy’ demeanour which bewidlers us as the audience (trust me) because we assume we are actively understanding the scene. For example, despite Christopher Mintz-Plasse’s hilarious ‘Superbad’ character: ‘McLovin’ and Adam Brady’s loving personality, they are not presented in the same light. This is completely intentional as it reflects everyday life and how even the ‘nicest’ people can be concealing something deeper.

Album of the week: ‘In the End It Always Does’- The Japanese House

When ‘The Japanese House’ burst onto the UK indie scene in 2015, her androgynous vocals and press-shy nature meant she was shrouded in mystery, as many a listener speculated over her identity. In her sophomore album, ‘In the End It Always Does’, the mystery around the singer is all but evaporated, as she delivers her most vulnerable work to date.

The lyrical content of the album deals with a breakup, although you would not guess based on how upbeat a large part of this album is, songs like ‘Touching Yourself,’ ‘Friends,’ ‘Boyhood’ and ‘Sunshine Baby’ deliver pure pop ecstasy, with the latter two contrasting their warm sound with moodier lyrics. A standout of this method is ‘Sad to Breathe.’ Going off the title and first minute of this song, anyone would think they were in for a devastating ballad, but the remainder of the song features the most energetic and lively instrumentation of the whole album.

These songs make the times when the album explores the sadness of its central theme all the more crushing. Standouts on this front include ‘Over There’, ‘Baby goes again’ and the closer ‘One for sorrow, two for Joni Jones’ which features the devastating line ‘No one's ever gonna love me, like this dog lying in my lap.’ The song ‘Over There,’ is another standout, not only for its personal lyrical content, but also its lounge-like spacey sound at the behest of folk singer and multi-instrumentalist Bon Iver. The collaborators on this album all bring their A Game, ‘Morning Pages’ features an excellent verse from MUNA’s Katie Gavin, the 1975’s George Daniel helms the album’s production whilst frontman Matty Healy provides backing vocals on ‘Sunshine Baby’.

In short, ‘In the End It Always Does’ is an experience in equal parts invigorating as it is despairing, with production and songwriting earworm-y enough to keep you coming back, and lyrical content potent enough to make sure you never forget it.

Album of the week: ‘In the End It Always Does’- The Japanese House

When ‘The Japanese House’ burst onto the UK indie scene in 2015, her androgynous vocals and press-shy nature meant she was shrouded in mystery, as many a listener speculated over her identity. In her sophomore album, ‘In the End It Always Does’, the mystery around the singer is all but evaporated, as she delivers her most vulnerable work to date.

The lyrical content of the album deals with a breakup, although you would not guess based on how upbeat a large part of this album is, songs like ‘Touching Yourself,’ ‘Friends,’ ‘Boyhood’ and ‘Sunshine Baby’ deliver pure pop ecstasy, with the latter two contrasting their warm sound with moodier lyrics. A standout of this method is ‘Sad to Breathe.’ Going off the title and first minute of this song, anyone would think they were in for a devastating ballad, but the remainder of the song features the most energetic and lively instrumentation of the whole album.

These songs make the times when the album explores the sadness of its central theme all the more crushing. Standouts on this front include ‘Over There’, ‘Baby goes again’ and the closer ‘One for sorrow, two for Joni Jones’ which features the devastating line ‘No one's ever gonna love me, like this dog lying in my lap.’ The song ‘Over There,’ is another standout, not only for its personal lyrical content, but also its lounge-like spacey sound at the behest of folk singer and multi-instrumentalist Bon Iver. The collaborators on this album all bring their A Game, ‘Morning Pages’ features an excellent verse from MUNA’s Katie Gavin, the 1975’s George Daniel helms the album’s production whilst frontman Matty Healy provides backing vocals on ‘Sunshine Baby’.

In short, ‘In the End It Always Does’ is an experience in equal parts invigorating as it is despairing, with production and songwriting earworm-y enough to keep you coming back, and lyrical content potent enough to make sure you never forget it.

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