Billie Joe Armstrong's spirited declaration, "She’s gonna bang her head like 1981," sets the tone for Green Day's punk anthem, "1981." The track nostalgically hails a year when classic punk acts disbanded or evolved into something more intriguing, marking the rise of synth pop with hits from The Human League, Soft Cell, and Ultravox. Remarkably, Armstrong, the voice behind this energetic homage, would have been a mere nine-year-old during that era.
Green Day, however, champions a brand of punk that had already outlived its prime when they embraced it. Simplifying the genre to its core elements – faster, harder, and more cartoonish than the Ramones – the American trio soared to global superstardom, surpassing their original punk idols like The Ramones, The Clash, and The Sex Pistols. Their 1994 major label debut, "Dookie," struck a chord with disenchanted American teens, birthing a wave of snotty pop-punk bands. This style persists today in acts like Olivia Rodrigo.
Yet, playing pop punk in the 2020s, with its fixation on old musical tropes and retro fashion, seems more like a nostalgic tribute than a revolutionary statement. Even Green Day's 14th studio album, "Saviors," reflects this with a cover photo from 1978, unrelated to the band or their audience.
In their 50s and settled into family life, Green Day appears trapped in a conceptual loop, unable to mature. "Saviors" doesn't lack strength or excitement; it merely echoes the band's familiar sound. Armstrong's knack for melody and pop hooks remains evident, constructing songs on straightforward but catchy chord progressions reminiscent of early rock'n'roll. The album's themes oscillate between satirical political commentary on America and gleeful celebrations of foolishness, accompanied by notes of romantic regret.
Occasionally, hints of a more mature sound emerge, as seen in tracks like "So Long, Adeline" and "Father to Son." However, these glimpses get engulfed in the album's overcharged guitars and stylized snarling, reminiscent of a bygone era. Green Day's refusal to evolve makes "Saviors" a continuation of their signature style, a sound that might have felt outdated even in 1981, let alone 2024.
Contrasting Green Day's static approach, Sleater-Kinney, emerging from the early '90s Olympia scene, embraces evolution. Riot grrrl pioneers like Bikini Kill and Bratmobile paved the way for Sleater-Kinney, whose 1995 debut received critical acclaim. Unlike Green Day, Sleater-Kinney refuses to repeat themselves, evident in their 2019 album, "The Center Won’t Hold," a daring exploration of fear and desire produced by St Vincent.
Sleater-Kinney's latest offering, "Little Rope," showcases their most commercially accessible sound yet. Despite facing personal tragedy – including the death of Carrie Brownstein's mother and step-father – the album maintains a poignant and reflective tone. Songs like "Hell" and "Don’t Feel Right" channel grief, while "Untidy Creature" mourns the loss of the right to legal abortion.
"Little Rope" captures Sleater-Kinney's growth, with tracks like "Crusader" echoing No Doubt's grungy appeal. The lead single, "Say It Like You Mean It," accompanied by a video featuring Succession’s J Smith-Cameron, grapples with acceptance in the face of life-altering events. It's a reminder that Sleater-Kinney, unlike some bands, confronts change head-on, producing music that evolves with the times.
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