Green Day
American Idiot
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For $13.20

When grunge and the alternative movement exploded back in the early to mid-90s, it was refreshing to hear what was essentially a brat-pack punk band incorporate sturdy pop harmonies into their outfit. They were melodic about their discontent, something that The Ramones perfected and solidified into a movement all on its own. With the melancholic rebellion incinerated into our skulls with Nirvana, it was nice to hear three bar chords recycled with upbeat precision which resulted in radio-friendly songs about masturbation and suburban cynicism. Green Day wasn’t meant to necessarily be pertinent and it’s surprising to any music devotee that they’ve managed to maintain longevity during the course of boy bands and rap metal. Although their previous effort in 2000, Warning, often exemplified their punk pop forte to the point of sounding tired instead of fresh.

But here they are in 2004, continuing to enthrall on more of a political level rather than a musical one. They do happen to walk the fine line between derivativeness and innovation, clearly manifested in “Brain Stew” which sounded far too much like “25 or 6 to 4” by Chicago. American Idiot is indeed touted as a conceptual album spliced into a rock opera, but at times, and this is actually nothing new, they recycle the same key and chord structures to fit the mold of the “concept” record in which songs bleed into the next without flinching. It’s disappointing that they don’t venture out beyond playing variations of A major, for a lot of the songs “sound” the same, even as their socially-charged lyrical landscapes are amongst the best they’ve ever done in the career. “City of the dead/At the end of another lost highway /Signs misleading to nowhere/City of the damned/Lost children with dirty faces today/No one really seems to care” is indicative of the activist material presented here. It’s more of a sociological exploration rather than taking the opportunity to bitch about chicks.

“Jesus Of Suburbia” begins like most Green Day songs with punchy power riffs dominated by Armstrong’s keen ear for melody and Tre Cool’s air-tight fills. About two minutes in, piano surfaces and the chorus is weirdly reminiscent of “Summer of 69.” Another three minutes later, it sounds like a sprightly summer ska song with Beach Boys harmonies. It’s all here, and the title track/first single is a superlative, prototypical Green Day song for the die-hard fans that resonates better than anything since their breakthrough Dookie. It’s not a perfect record. “Are We The Waiting?” needs a more climactic buildup and as soon as it begins to settle, it dissipates after two brief minutes. “Wake Me When September Ends” has poignant lyrics but sounds far too much like a boy band song and is clearly attempting to ape the success of “Good Riddance.” American Idiot is bound to have more of a lasting, memorable impact than some of their recent releases in terms of its range and sweeping scope, and its successful branch-out into new territory. They’ve always shown signs of maturity but now it’s finally got a central focus and an emotional core beyond adolescent angst and sexual frustration. They’re touching on universal issues at a time when the flaws of America are clearly being verified through rock and roll. When The Ramones bashed and criticized Reagan-era politics during their time, it’s only fitting that Green Day take over during Bush’s reign. The torch has been passed, boys.

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