Saviors＜限定盤/Hot Pink Vinyl＞

Just prior to the onset of the COVID-19 pandemic in 2020, Green Day released Father of All… -- an album co-produced by Butch Walker that found the punk-pop veterans ratcheting up the glam as they tightened their song structures. Its difficult to separate the albums short shelf-life from the cultures sudden lockdown but in any case, Father didnt open up a new horizon for Green Day, so they went back to what they know works: heavy, hooky power pop given crunch and weight by Rob Cavallo, the producer who helped beef up their sound 30 years prior on their major-label debut Dookie. Saviors follows the same rough blueprint as its forefather -- garagey rockers are countered by exuberant melodies and wistful ballads -- but the trio is smart enough to not attempt to mimic either the snottiness or their frenetic rhythms here. Green Day sound exactly like what they are: rock & roll lifers settling into middle age, irritated by some shifts in culture but still finding sustenance in the music theyve loved for decades. They may rhapsodize about a "Corvette Summer" in a salute to the glory days of pre-MTV AOR but age hasnt made them crankily conservative or excessively nostalgic. Green Day send certain catchy rock styles from the past through a loud, muscular filter, an execution that tempers their lingering punk influences without seeming lumbering or slow. The ballast makes Saviors seem streamlined and steady, a shift in emphasis that is impossible to ignore on first listen; they seem as if theyre retracting. After that initial impression fades, Saviors sounds cleaner, stronger, and purposeful, all due to the still-sharp pop instincts of Bille Joe Armstrong. Age may dampen Green Days roar, but it has also heightened their songcraft, and thats reason enough to give Saviors time to let its hooks sink in. ~ Stephen Thomas Erlewine

The American Dream Is Killing Meなどの先行曲からも方向性は予想できたことだろう。ジャケもタイトルも意味深な4年ぶりのニュー・アルバムは、前作『Father Of All Motherfuckers』以降のアメリカ社会や世界を取り巻く不穏な空気を躊躇なく反映したもの。彼らとの二人三脚を経て名プロデューサーになったロブ・カヴァロとおよそ10年ぶりに合体し、サウンドの傾向的にも『Dookie』(94年)や『American Idiot』(2004年)の進化形となるパンク・ナンバーがポップに際立っている。一方では近年の作品で見せてきた振り幅を深化した側面もあり、単なるルーツ回帰に終わらない仕上がりが実に頼もしい!
bounce (C)轟ひろみ