Album Review: Saviors by Green Day

I just wanna save you while there's still something left to save Green Day may be the only golden age pop-punk band who were victims of their own ambition. American Idiot deserves as much praise for kicking off an era of freewheeling, conceptual albums in the genre, concurrent with blink-182's Untitled, as it does criticism for its overindulgences and inconsistencies. Later albums in this wave would either top it at its own game (The Black Parade and The Mother, The Mechanic, and the Path) or fall victim even further to the same blunders, like Say Anything's messy slog In Defense of the Genre or Yellowcard's awkward Lights and Sounds.

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Billed as a loose trilogy to their politically-charged American Idiot and 1994's Dookie, Saviors is Green Day's latest attempt to retain their punk bona fides. While the marketing of the East Bay veterans' latest has heavily leaned on their biting sociopolitical commentary, the actual narrative here is whether they're worthy of even reclaiming their place as a voice for the people. And, to an extent, they succeed.

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Tags: Green Day, Reviews, Album Reviews.

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Green Day’s latest LP, by their own admission, summons comparisons to the career highs of 'Dookie' and 'American Idiot' – both are incidentally celebrating respective 30 and 20 year anniversaries. To add to the nostalgia, the band are subsequently touring the classic records in tandem, which is about as 2024 as it gets, right? The return of longtime producer Rob Cavallo on ‘Saviors’ – their 14th studio record – is somewhat notable, although he was also at the helm for the ill-fated '¡Uno!', '¡Dos!', '¡Tré!' trilogy. An immediate observation is that even after 30 years it's still a blast to witness the thrilling synergy between Billie Joe Armstrong, Mike Dirnt and Tré Cool, who giddily bounce riffs off each other with more enthusiasm and intensity than most bands half their age.

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