we’re continuing to catch up with discographies that have extended past our last look at them, and this week we’re checking out Green Day’s Saviors, released in January of this year –

i did listen to Saviors right when it came out – despite my feelings on Father of All Motherfuckers, i do think the boys of Green Day can still write a good tune, and i was optimistic after the singles. i gave it a listen, was unimpressed, checked out a review or two, and then promptly forgot it existed. at the time, i was behind on “finished” discography catchups, and decided it was a later me problem. well, now its later.

i dont believe this record is without merit – the opener, The American Dream Is Killing Me, is quite strong, musically, and dodges most of what i dislike about their more pointed political songs. its mostly buzzwords and non-specific, but i think its p solid. the midpoint if the record, Corvette Summer, is also a p good track. its not deep – its a song about listening to good music and having a good time – but i had a ton of fun with this song and it was like a nice lil glimmer of a good time.

that being said – they do drift into that non-specific kind of political or social singing that isnt pointed enough to feel motivated or purposeful and just broad enough to feel kinda pandery. i think American Dream had some of this but was catchy enough to give it a pass. Living In the 20s, Strange Days, and Look Ma, No Brains! dont all get there, imo. Coma City has some merits but again, saves any specificity for just a few lines, and is otherwise just an aimless comment on the city feeling lifeless. the broad message congeals into “things are bad, people are dumb”, a message that hasnt changed since American Idiot and i didnt find engaging then.

the record is also trying to straddle a line – amongst the social and political critiques are more personal tracks. Bobby Sox is a love song trying to woo a girl, and Goodnight Adeline and Suzie Chapstick follow in those footsteps. but like, i feel like the tone bounces between the two way too rapidly. Father To Son is a much more personal track, a father trying to be there for his kid, but its wedged between Living In the 20s and the title track, Saviors. at 15 tracks, this kinda back and forth happens a few times and really takes me out of either half of what theyre trying to do.

largely, i found the songs competent musically but unpressive lyrically, and largely it feels like theyre trying to cut back into an edgier space with more bite after failing to do that with Father of All, but i still feel like their perspective is off. i think this is an improvement, but not by a ton.

Saviors – 5/10

next week, we’ll be looking at Rosie Tucker’s newest release, Utopia Now!

first: 1,000 Hours | previous: Father of All Motherfuckers | next: who knows!

all my reviews for Green Day