tokyo’s april(s)in blends spastic rock with skramz influences

By Rob Halloran
Contributing Writer
Edited by Nikki Roberts

thisishowitendedintokyo’s presence on local lineups has been fairly regular recently, to say the least. Their energetic rhetoric is perfect for a wide variety of shows and will continue to bring people out of their parents’ basement and beyond for a seriously fun time.

Tokyo’s presence on april(s)in, their latest release since their November 2017 collaboration with Martha’s Got A Limp Wrist, presents the chaos in a more controlled form, coupling mellow cleans and chaotic distortion over a range of moods–mostly a screamo mood–but still a decent range no doubt.

thisishowitendedintokyo performs on day one of the Que Ball Funeral Show // Photo courtesy of Faith Saibert

The skramz influence here is very apparent, and if you’re looking for something to satisfy the lowkey emo in you, this is a really good listen regardless of who you are. The vocals are raspy, rude and in your face. That being said, they’re not for everyone.

Tokyo’s presence on this album (I feel) falls short of what they can and will do live. The best way to see this jam in action is when you’re in the room with them, so head to a show. Catch thisishowitendedintokyo in Villa Park on June 9.

The first track, “3,” really sets april(s)in up for you. No doubt.

There’s a lot of very low-volume phasing that happens in the silence of some of these songs, so listen closely; it’s pretty cool if you ask me.

“Math Song” offers a great intro, a strong song with strong riffing and one of the nicer drum mixes here.

“Boys Life” also offers up a very strong track to be reckoned with. The drums could be louder, but the mood of the track is still aggressive regardless.

The album ends on a note that makes sense with “Chanting Song”. This track feels a bit shoegazy and ethereal. Definitely my favorite since it incorporates the vocals in a way that seems to make more sense than some of the other songs on the album.

My final word on this bad boy is that despite weak and sometimes non-existent drum sounds, despite the chaotic, non-refined demeanor of this record; despite me wanting severely more content and more ground covered here, these guys are awesome musicians. I want more.

This thing needs to be shared around. It’s not for everybody, but people who find this and enjoy its moody riffing and shrill vocal deliveries will have discovered a diamond in the rough.

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