In 1989, Cameron Crowe released the romantic comedy classic Say Anything. With a long brown trench coat and a boombox held above his head, John Cusack’s character, Lloyd, represented a generation of youth culture – one filled with energy, color, and, above all, synth. In 2025, the world may not be filled with as many boomboxes, but synth remains a significant cultural player in the music world, as seen in Oklahoma City-based band Blueprint Tokyo’s album, Neon Circuits and the Mission of Hope. In this album, U2’s early days meet a modern Future Islands, and explosions of sound create an incredibly vibrant album saturated with neon light and hope, bringing any listener straight into the 80s. This immersion begins with the opening track, which shares a name with the 80s classic. “Say Anything” sets the stage for the album in all its neon glory, with echoey synthetic keys playing as the track opens. It makes for an energizing opener. However, the retro texture of synth can be heard throughout the whole album, especially on later songs like “Dragons” and “Take Me Any Place.”
Blueprint Tokyo provides a new, fresh take on a song adjacent to something that might’ve been in The Killers discography. This song is “Take My Breath.” With its breathy vocals and melodic instrumentals, it definitely channels the music of The Killers; however, Blueprint Tokyo adds a unique element to this song: the saxophone. The instrument not only sets the song apart as something fresh, but it also adds a jazzy element, transporting the listener into the smoky air of an 80s jazz bar, speaking to the intergenerational nature of the album.
The album shifts from indie to rock n’ roll with the song “Mission Control,” having a guitar as the standout instrument in the track. It’s a song you’ll definitely be able to sing along to, with catchy lyrics like “ABCD 123 Go.” This sing along quality pays tribute to the song’s universal message, “We need hope,” which is delivered in an almost pleading tone by the singer, extending the last note into a cry to create a powerful message.
“Stand and Deliver” shifts the tone again, back into a romantic synth space. Piano floats behind the lyrics, and lines like “It’s New Year’s Eve, there’s no place I’d rather be / Than here with you” lean into tenderness. Songs like this and “Only Hearts,” which comes later on in the album, show off the band’s versatility—they shift from tone to tone, keeping songs sparkling with synth and guitar while grounding them in emotion through piano and pained vocal delivery.
In addition to powerful tonal shifts, the song “Connected Lines” showcases the band’s skill in utilizing timing and instrument placement to craft a bright and exciting track. Although there are moments where the track quiets, they do not last long, as a quick turnaround with crashing guitars and drums joins the track, emphasizing the group’s masterful production.
“Transfer” is another example of the group’s versatility. It’s a grungy track featuring a growling guitar and a guttural lyrical delivery. It makes for a definite headbanger without straying too far from their dreamy instrumental breaks. This is done in a similar way on “Replicants,” an earlier track on the album.
They were right in naming their next song “Infused,” as it really is infused with hope, cheerful drums, and bright guitar riffs. This song is also infused with some very unique standout moments, one being the spoken word towards the end of the song. In an impassioned speech, the singer says, “I believe that we can all be something more than what we are right now/I believe/I believe in you.” The moment almost oozes nostalgia, as it sounds almost like it is being delivered by a TV screen or radio transmitter, but the nostalgia pushes you to be better, to do better.
The album comes to a close with “Sailor Girl,” which combines many elements from the album, including saxophone, synth, piano, and layered vocals. It feels like a proper send-off, the band waving as you drift away into your next sonic adventure.
Written by Roxie Jenkin