Blueprint Tokyo’s Neon Circuits and the Mission of Hope (2025) is a thematically cohesive and almost cinematic indie synth rock experience. Each of its sixteen tracks moves into the next like scenes from a hazy science fiction film. The band’s influences (The Cars, Jimmy Eat World, The Killers) are evident, but their experimental art rock sound is still uniquely theirs.
“Say Anything” is an atmospheric introduction, with multiple synths and guitar tones creating a velvety sound texture during the choruses (this is a bit more sparse in the verses, but the sound is still rich). The first track sets a precedent for the rest of the album, which is that Blueprint Tokyo’s production value, instrumentation, and variety of inspirations combine to create a sound that is difficult to pin down to a certain era. It is equal parts futuristic and nostalgic.
“Replicants” leans into a faster and more straightforward alternative rock sound profile, and a simple guitar solo that is not overly complex but works in the song’s favor. “Take My Breath” is similarly up-tempo, with an underlying sense of persistence. The addition of the saxophone is also a nice touch, and the way that it weaves in and out from underneath the guitar motifs is excellent.
“A Whole New Life” brings the speed back a few clicks and employs a brighter, more optimistic sound. The vocals here are a standout, with the male and female vocals interplaying with each other in almost the same fashion that the sax and guitar did on “Take My Breath.” The effects on the vocals in the latter half of the song also add to the dreamlike atmosphere of the song.
“Mission Control” sees a return to the quick, desperate feel from earlier in the tracklist, featuring some viscous drum fills and Killers-esque guitar work. The vocals also stand out from the mix (in a positive way) than it did on the songs preceding it. “Closed Door Drama” begins with a strange spoken-word intro, then opens up to a longing ballad. “Stranger Things” begins with pleasant piano that continues underneath the rest of the band once they come in. It carries on with the same desperation that was the driving force behind “Closed Door Drama.” “Stand and Deliver,” while also built around piano, feels more optimistic and bright than the previous two tracks, while still being tinged with a bit of their longing. “Invisible Year” takes the album back in the more straightforward alternative rock style from before. “Dragons” and “Only Hearts” present more interesting synth and guitar textures, and “Connected Lines” is a higher tempo number with more standout vocals.
“Transfer” has an angry edge that busts in and takes over the longing that most of the other tracks thus far have conveyed. There are hints of The Cars in the first bit of “Infused,” and the spoken-word part toward the end of the song is a bit heavy-handed but works in the context of the album. The synth-heavy final two tracks of the album, “Take Me Anyplace” and “Sailor Girl,” close the narrative with a bittersweet optimism. Not to mention, the saxophone throughout “Sailor Girl” fits wonderfully into the sound palette and brightens the sound significantly. Although there are a few awkward moments, such as the spoken-word part of “Infused,” the more experimental elements of Neon Circuits and the Mission for Hopesuccessfully convey the album’s themes. The production value is dreamy and futuristic, and the musicianship across the band is great.
Written by Mackenzie Darnielle