Welcome… to the first great Australian rock record of the new decade. An album where every song could be a single and every single could be an anthem. An album that floats and pulls, pushes and tears through on a completely different level to all those around it, calling out our vices and heartbreak in one of the most uplifting dark albums ever. Everything they’ve done before has led to this album. Welcome… to Birds of Tokyo.

Opening with the gentle Plans drifting out of the speakers like a sweet breeze and gliding effortlessly through the air, before building, building and building some more and then exploding into the atmosphere.  Look down, see those dots below you, they’re every other rock band in the country trying to reach these giddy heights. And we’re only on track one. Launching into our first trip around the board game of love and the destruction it leaves behind, Dark Side Of Love rolls the dice and leaves only questions and the ache of what used to be, when the slide begins and everything points to the end of everything. But you’ll never feel so glad to see it.

The aggression and Bombast of The Saddest Thing I Know roars out as lead singer Ian Kenny seems to take shape as the scythe wielding Grim Reaper, shaking his head at the vice ridden behaviour he sees before him. Looking on as the weak willed sink ever deeper by their own hand, all the while waiting for his time to strike and end their suffering. Waiting for those whose blood and substance runs deep In The Veins Of Death Valley. The macabre violins set against the soaring vocal melodies leading them ever deeper into his grasp.

A beautiful, haunting refrain introduces Circles and bends its way through much of the song, twisting and turning, looking for the way back to redemption and where it all came undone. Aching to break free of distraction and all the while building up with the frustration and impatience of the great return until it can’t take no more.

Wild At Heart spills in, laying the foundation for its soaring declaration of heart on sleeve abandon… “I fought with many and I won for some” Kenny’s arch angel of love cries… “We wear our bruises like watermarks”, the medals of battles fought for the heart and soul worn as proof of a life lived on the edge of all it could offer.

The massive, robot production line riff of The Gap kicks you right in the head and the band strap their fighting boots on and launch an all out aural assault, Kenny’s knowing sneer setting the scene before a delicate falsetto belies the sinister stomp of the music. Escape from the unescapable seems too far gone and the slow sink begins. The gentle intro to Murmurs is short and soon gives way to the huge guitars and soaring chorus that wash over like a wave of relief and regret. All before the massive, abrasive guitar break drives a hole right through you, nailing you to the last ditch wall of redemption as the final chorus has you soaring all over again.

The Birds march and kick and glide their way through this record with their eyes set firmly on the prize, that of making a truly great rock record… and they achieve it tenfold. Determined not to be dragged down by angst and temptation, but instead using it to build themselves up again, fighting all the time for survival. Fighting for love over heartbreak, for courage over vice. Their weapons of sonic walls, huge hooks and amazing vocal melodies being fired at will. When the time comes to tour, watch as audiences will heave to The Unspeakable Scene before being lifted by its stunning chorus, then ride Waiting For The Wolves to its breathtaking conclusion.

And so as If This Ship Sinks (I Give In) sails inevitably out to sea you know they aren’t going down without a fight. But whatever fate has in store can only be put off for so long before it stares every one of us down and we succumb to its all knowing glare and drift helplessly along, our last gaze falling sweetly upon that which has kept us in the fight all along.

AND NOW…

THE BRAND NEW VIDEO FOR PLANS IS JUST IN!