Meaning and Lyrics of Tokyo Calling by ATARASHII GAKKO!

In “Tokyo Calling,” ATARASHII GAKKO! dives deep into the vibrant and paradoxical essence of contemporary Tokyo life, encapsulating the struggle, persistence, and dreams woven into the city’s fabric. The visuals and themes presented in this track resonate powerfully against the backdrop of modern Japan, reflecting both the exhilaration and the disenchantment that many young people encounter in bustling urban life.

Chorus Analysis
The chorus is a mantra that serves as an anthem of resilience: “Tokyo calling / Machi wa almost falling.” The repetition of “Tokyo calling” conjures imagery of a metropolis that is both alluring and oppressive, highlighting the duality of the city. The phrase “machi wa almost falling” suggests an impending crisis—be it societal, mental, or existential—hinting at the pressures faced by its inhabitants. They live within a space that feels both like a dream and a nightmare, which is underscored by the line “marude akumu de mita saiaku no story.” Here, the lyricist masterfully paints Tokyo as a landscape where dreams corrode into nightmares.

The juxtaposition of despair with an inkling of hope is pivotal: “Kibou no mirai haruka kanata no glory.” This line is poignant, straddling the line between desperation and aspiration—it’s a symbolic nod to the hope for a brighter, meaningful future that feels just out of reach. It encapsulates the struggle of trying to carve out one’s identity against the backdrop of societal expectations and rigid structures.

Verse 1 Examination
Verse one lays bare the mundane yet pervasive constraints of modern life: “Kaisha genkai zettai yametai kedo yamerenai tousan.” The protagonist’s father is trapped within a corporate structure that robs him of fulfillment, showcasing a common sentiment in Japanese society where salarymen often sacrifice their aspirations for financial stability. This theme of confinement is echoed in the line about a brother living a life of withdrawal through endless online engagement—“Daigaku genkai mainichi netto ni hikikomotteru niisan.” It symbolizes the generational divide and the rising trend of youth becoming increasingly isolated due to the pressures of modern society.

This critique extends further with references to the mother’s work in an idol group, “futoko touhi aidoru doppuri kaasan.” This line can be interpreted as examining the exploitation within the entertainment industry, shedding light on the sacrifices made for fleeting fame and the toll it takes on personal identity and family life.

Pre-Chorus & Refrain Insight
The pre-chorus’s repetitive “Ra ra ra moya” serves as a hypnotic, almost tribal chant, that imbues the track with a visceral energy, inviting listeners into a communal experience. This chant can be seen as a call to arms—an auditory manifesto urging a collective awakening amidst stagnation.

With the refrain, “Tokyo calling” echoed six times, the urgency and immediacy of their message become palpable, reinforcing the notion that despite the city’s crushing weight, there’s an unmistakable energy urging change. The call to “marching” carries both a militaristic connotation and an assertion of agency, signaling that this generation is ready to reshape their narrative.

Verse 2 Analysis
The second verse explores the idea of “Ichido kiri no jinsei” (a once-in-a-lifetime life), and how different individuals navigate their unfulfilling daily jobs. The varied professions—part-time roles in a cat café and hostess clubs—reveal a spectrum of survival tactics within the urban jungle. These portrayals echo the postmodern ethos where individuals must create a patchwork existence to cope with the overwhelming demands of urbanity. The mention of “Harewataru aozora” (clear blue sky) juxtaposed with these mundane roles suggests yearning for escapism and authenticity.

Bridge & Final Chorus
The overwhelming insistence of the bridge, “We are marching,” elevates the track into a euphoric crescendo, symbolizing unity in struggle. This collective cry resonates with social movements that encapsulate the very essence of youth rebellion against the “kawaii” culture of placidity that often dominates Japanese society.

The concluding chorus is a powerful declaration: “Kibou no mirai koko ni ima tsukuru history.” Here, they assert that they are crafting their history—a statement of defiance and empowerment. The repetition of “victory” serves as an affirmation that change is not only possible but imminent.

In essence, “Tokyo Calling” transcends a mere musical composition; it becomes a multi-faceted critique of the paradoxes inherent in urban life, the overwhelming pressures of modernity, and a rallying cry for self-identity and hope amidst chaos. ATARASHII GAKKO! has not just captured the spirit of a generation but has propelled it to challenge and redefine the landscape of contemporary Japanese culture. Their work continues to serve as both a mirror and a catalyst for change, solidifying their artistic merit in the increasingly complex tapestry of global music.