Green Day – ‘Saviors’ album review: authentic post-punk anthems for a broken world
THE SKINNY: Green Day are advancing, poised to project modern shadows in the candle-lit realm of post-punk. As you survey the landscape, you might encounter the remnants of outdated prejudices and tumble into the relentless grasp of early 2000s nostalgia. It’s a realm teeming with opinions, opinions on opinions, a space where bigotry intersects with progressive thinking. Billie Joe Armstrong illuminated the path to enlightenment with the release of American Idiot, an intricately layered concept album delving into the rise and fall of American ideology. Now, Saviors takes a bold step forward, reaching for the very fingertips of revolution in a way that many would shy away from.
In truth, the existence of Saviors is inseparable from its predecessors, Dookie and American Idiot. The latter, in particular, has sparked extensive discussions among progressive thinkers who find it satisfyingly critical and right-wing figures who label it “woke”, or as Elon Musk recently expressed, “Green Day goes from raging against the machine to milquetoastedly raging for it.”
While there might be an instinct to counter the baseless tirades of the X CEO against Green Day – keep in mind, this is someone who also recently labelled “cis” as a “heterophobic slur” – in such situations, it’s more prudent to echo the sentiment expressed by Mike Dirnt: “The song’s twenty years old, and we’re Green Day. What did you expect?” The sheer realisation that American Idiot has reached the two-decade mark enhances the poignancy of Saviors, a quality evident in its musicality and lyrical content alone.
What sets this album apart is that you’re not anticipating any specific “bangers”; instead, the slower compositions subtly emerge from the corners of the room, evoking forgotten feelings or memories. While the previous 2020 album, Father Of All Motherfuckers, unleashed a vibrant burst of youthful pop-punk, steering clear of political commentary and explicit Donald Trump criticism, Saviors marks a return to the scorched origins of punk’s rebellious essence, complemented by a dose of introspective reflections.
For Fans Of: Raging against the dying of the light, especially when you already know the ending.
A concluding comment from Tom’s mother: “They lost me with that Jimmy Fallon stunt on the subway. And bleached blonde hair in your 50s?”
Saviors track by track:
Release Date: January 19 | Producer: Rob Cavallo | Label: Reprise Records
‘The American Dream Is Killing Me’: The war on culture arrives with a mighty force as Billie Joe Armstrong brutally criticises the much-desired American dream, painting a vivid picture of the intense divides across the country as he sings: “People on the street / Unemployed and obsolete / Did you ever learn to read the ransom note?” [3.5/5]
‘Look Ma, No Brains!’: A classically short, fast punk-rock song about embracing uniqueness despite constantly being bombarded by society’s ideals. ‘Look Ma, No Brains’ is extremely reminiscent of ‘American Idiot’, but perhaps that’s the point: we’re all jarred by the world, so let’s criticise the prejudiced media for fostering foolishness among the public. It’s the least we could do. [3.5/5]
‘Bobby Sox’: A love song dedicated to Armstrong’s wife, Adrienne, ‘Bobby Sox’ enjoys the romantic ambience of its own words while speaking to people from all walks of life. With the lyric, “Do you wanna be my boyfriend?” Armstrong proves once again that queer people are welcome here. [4/5]
‘One Eyed Bastard’: Crafted to be belted out with enthusiasm, this track kicks off with a heavy riff before diving into an irresistibly catchy and impassioned melody. Set to swiftly earn the status of a timeless favourite, it perfectly embodies the anthemic style of Green Day that captured our hearts in 2004. Especially considering the following poignant words that will probably be in your head for a long time: “Vendetta is a friend of mine / Revenge is sweeter than wine / I never asked to hear your goddamned feelings / Get on your knees when you are kissin’ my ring.” [4/5]
‘Dilemma‘: Another punk anthem destined to infiltrate your mind for weeks, if not months, Green Day pulled out all the stops for ‘Dilemma’. Armstrong flirts with self-criticism as he discusses all the pain that comes from experiencing mental illness and drug and alcohol abuse. It’s a personal song, evident from the first line, as Armstrong navigates the perils of personal struggles. [4/5]
‘1981‘: The free-spiritedness of the 1980s is captured in this upbeat pop tune. The chorus, the repeated line “she’s gonna bang her head like 1981”, represents the unrestrained and emotional manifestation of music, along with the longing to re-experience the vigour and liberation of that period. [3.5/5]
‘Goodnight Adeline’: Armstrong may not have foreseen the depth of intimacy achieved on Saviors, but what enhances the greatness of tracks like ‘Goodnight Adeline’ is Dirnt’s contrasting arrangements that complement the lyrical delicacy. While the song could have easily fallen into the realm of another indie-punk tune reminiscent of their previous works, the emotion resonates with heightened poignancy. [4/5]
‘Coma City’: After the harrowing events of the Coronavirus pandemic almost four years ago, ‘Coma City’ plays into a variety of contemporary anxieties, including health paranoia alongside police complacency. This is particularly evident in the lines: “Pull down the mask / Board up the windows / And drink lemonade,” and of course, “Don’t call the cops / Word on the street is / They all quit their jobs.” [4/5]
‘Corvette Summer’: Quite possibly one of the most polarising songs on the whole album, ‘Corvette Summer’ isn’t necessarily as strong as the other tracks, but its catchiness saves it from drop stooping too low even when its lyrics fall short. This song captures Green Day’s prowess when it comes to crafting endearing melodies, especially during the chorus, which is another that will probably swirl around in your head for days. [3/5]
‘Suzie Chapstick’: This song exudes a certain Beatlesque quality, even though its sonic essence is distinct from the Fab Four when picked apart. It could be the melody or the reflective lyrics, but there’s an unmistakable element in its musical arrangements that harks back to the spirit of 1960s rock ‘n’ roll. Armstrong’s vocal delivery gracefully navigates the song’s narrative, effortlessly conveying the poetic words: “Outside my window there is nothing but a sky / It’s just another vacant, cold, and lonely night.” [4/5]
‘Strange Days Are Here to Stay’: This pop anthem succinctly marks 2016 as the year everything went awry with Trump, Brexit, and cultural conflicts, as Armstrong laments, “Ever since Bowie died, it hasn’t been the same.” Now, he highlights the opioid crisis, unabashed racism, and a cross-generational divide as the simmering issues in America’s to-do list. For peak Green Day politicism, look no further than ‘Strange Days Are Here to Stay’. [3/5]
‘Living In The ’20s’: Extending his criticism of the current landscape further, ‘Living In The ’20s’ reminds us that we are all, effectively, doomed. It doesn’t matter, though, because we’re all in it together. Armstrong points an accusatory finger at technology and the over-saturation of media images as he sings: “I got a buzz like a murder hornet / I drink my media and turn it into vomit / I got a robot and I’m fucking it senseless / It comes with batteries and only speaks in English.” [3/5]
‘Father To A Son’: Undoubtedly one of the best songs on the entire album, Armstrong invites us to enjoy a small moment of respite from the highly energetic critical ramblings of the rest of Saviors with ‘Father To A Son’. Similar to the sentimentality present in ‘Wake Me Up When September Ends’, this ballad proves the band’s ever-evolving versatility in more ways than one. [5/5]
‘Saviors’: This track serves as a poignant reminder of Green Day’s adept navigation between the eras of Dookie and American Idiot. In this song, the band effortlessly delivers social commentary while extending an invitation to aspire to a better human race. Armstrong’s vocals convey a mix of hope and stark realism as he sings: “Everyone’s asleep but nobody’s dreaming / We got all the fiction that’s worth believing.” [4/5]
‘Fancy Sauce’: A standout on the album, ‘Fancy Sauce’ exemplifies Green Day’s trademark tongue-in-cheek style, delving into themes of yearning and disillusionment. The song’s back-and-forth mirrors the daily confusion and the allure of succumbing to the world’s darkness. “Falling like a yo-yo,” Armstrong sings, “Paradise for locos / Medicate my sorrow / I’m so famous / You’re the one that’s famous / Everybody’s famous / Stupid and contagious / As we all die young someday.” [5/5]
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