The first thing to know about Japanese Breakfast is that none of its members are Japanese. In a nutshell, it was front woman Michelle Zauner’s way of poking fun at the Western assumption that all Asians are, when she is, in fact, half-Korean. 

She wrote a great deal about her background in her poignant 2021 memoir, Crying in H Mart, which was itself an expansion of an earlier essay. More specifically, the book chronicled how she dealt with her mom succumbing to cancer in 2014. It’s why the band’s first two albums, Psychopomp (2016) and Soft Sounds from Another Planet (2017), took on somber themes. And, do note, that’s the mom on the former’s album cover. 

On a more upbeat note, though, that book definitely defined 2021 for Zauner. Couple that with the release of her band’s third album, and it was easily her best year yet. 

Compared to the maudlin tone of its two predecessors, Jubilee is conspicuously more upbeat – as if the title isn’t already indicative enough. More than finally earning the band Billboard mileage, it also earned them their first taste of Grammy approval, with nods in the Alternative categories and for Best New Artist. Sure, they went home empty-handed that night, but that didn’t diminish the landmark year that was.

The vinyl release comes in a variety of bright colors reflective of the album’s theme, from orange translucent to yellow opaque. Unfortunately, only the standard black edition was available at time of purchase. 

The album opens with “Paprika”, which Zauner wrote after taking mushrooms. The surge of inspiration shows. While its slow build-up feels aligned with their previous work, the sudden increase in tempo ushers in their new sound. No wonder Zauner described it as “the perfect thesis statement for the record”. It’s likeThe Cardigans reincarnated as a garage band in Philly. 

The carrier single, Be Sweet, follows through and it’s the closest the band gets to radio-friendly pop. Unlike past cuts that wallowed in heartbreak, the song teasingly calls for reconciliation after a rough patch, with the refrain going “Make it up to me you know it’s better/Be sweet to me, baby/I wanna believe in you/I wanna believe in something”. It’s followed by “Kokomo, IN” about a teenager dealing with intensifying feelings. It’s not to be confused with The Beach Boys track from the Cocktail soundtrack. Zauner only felt it matches the vibe of the real Kokomo, a town in Indiana. 

“Slide Tackle” describes the process of self-conditioning and opens with “I want to be good/I want to navigate this hate in my heart/Somewhere better”. Using the titular soccer reference, it articulates the process of forcing one’s thoughts to turn positive. It’s easily the best non-single in the record and is also sequentially the last upbeat track. It all slows down again, starting with the second single Posing in Bondage, which also concludes Side A. Despite its sensual themes, it actually highlights the loneliness of a woman unable to please her emotionally distant lover. 

“Sit” kicks off Side B, sounding like the opening a new set after post-intermission. It likewise throws back to their previous sad material as it depicts longing. The same goes for the slightly up-tempo third single “Savage Good Boy”, which is the album’s most imaginative song. It’s  written in the perspective of a male billionaire who emotionally bribes the woman he desires. 

The energy fizzles by the last three tracks, thus completely deviating from the supposedly perky tone. There’s “In Hell”, which ruminates on ending a loved one’s suffering, and “Tactics”, which is about moving on from a toxic relationship. The album ends with “Posing For Cars”, whose title slightly Side A’s closing track. By then, the band completely reverts to its sad schtick, making the title even more of a misnomer. Then again, the prolonged electric guitar solo is a highlight and finishes the record strong.  

Jubilee may not follow through with all its intentions, but it’s still a major turning point for the band. It showcased them venturing outside their element to whip up a more accessible and crowd-pleasing concoction, even for just half a record. The experiment worked and listeners bought it either way.