Green Day
Revolution Radio

Four years after an unfortunate, and at the same time senseless, trilogy of albums titled "Uno, Dos, Tre," Green Day, having surpassed Billie Joe's rehabilitation issues, return to the music scene with this "Revolution Radio," about 45 minutes of music that requires several listens to be entirely "digested." At the end of 2015, Billie Joe himself declared that his mission for 2016 was to "destroy the word pop-punk forever," which aroused considerable curiosity among fans (including myself). Did he destroy it? Well, frankly, the answer is No. No, because Revolution Radio, contrary to how the fiery and punky first single "Bang Bang" led us to believe, contains songs that unfortunately still bear the pop-punk label (see: Still Breathing, Youngblood, and the title track Revolution Radio itself). Nothing new, then, Green Day are still the same: explosive power chords, effective and catchy choruses. The album opens with "Somewhere Now," a song that reminds me of the good old "Christie Road," truly well-suited to open the album, with an acoustic guitar and vocals at the start that explode into a powerful The Who-style chorus, as Green Day have accustomed us to since 21st Century Breakdown. We move on to track 2 "Bang Bang," the first single from the album. A fast song, just the right amount of punk, angry and political, truly very good. But wait! This riff seems familiar! Indeed, as I thought... St. Jimmy. Yes, unfortunately, the riff lacks originality, it's terribly similar to St. Jimmy, but what really is the pinnacle of this song is the bridge. Spectacular! We move on with the title track. "Revolution Radio" begins with a very beautiful guitar riff, which personally reminds me a lot of the sound of a siren, and then continues with a verse from the classic GD rhythm and an engaging chorus that makes this song an anthem. It's the turn of "Say Goodbye," a political song with intelligent lyrics as Billie Joe knows how to do, but musically loses a lot because it sounds, in my opinion, like a mashup between "Holiday" and "East Jesus Nowhere." Pity, it's a beautiful song anyway... We arrive at "Outlaws," a ballad with a melancholic flavor where Billie recalls his adolescence with Mike and their being "Outlaws." A well-conceived song with verses that harken back to the '50s and a chorus that explodes, very emotional. The most striking thing, with particularly deep lyrics, is the phrase "We destroyed Suburbia," which gives me goosebumps! It seems like a nod to the era of American Idiot that has since passed. Beautiful, truly beautiful! And here is "Bouncing Off the Wall," or the new Troublemaker/Horseshoes and Handgrenades/Prosthetic Head. The chorus reminds me a lot of "Know Your Enemy," but even though it's energetic, it's an insignificant song, let's take it as a filler. So, we've reached "Still Breathing," a predominantly pop song that will rot on the radio in the coming months, where Billie is happy to still be breathing after the hell of drug addiction that led him to rehab. Very beautiful and emotional, with a noteworthy melody. Next is "Youngblood," a well-constructed little song that reeks of the trilogy, where Billie talks about Adie bla bla bla... it goes by very quickly, and here we are at "Too Dumb to Die," which personally reminds me a lot of the American Idiot era, very beautiful and energetic. Nearing the end, we come across "Troubled Times," which, despite the interesting chorus, stinks of filler. Now, here we are at the pinnacle of the album "Forever Now," which, along with "Somewhere Now," frames it. It's something spectacular from beginning to end, some parts remind of Nimrod, the chorus heard at the end where Billie cries, "I want to start a revolution, I want to hear it on my radio," gives me goosebumps. It closes with the same acoustic guitar from "Somewhere Now," much like what happens with "21st Century Breakdown" and "See The Light." Epic, seven minutes of pure emotions! Here we are at the last track "Ordinary World," an acoustic ballad that closes the album, this too very beautiful. Although Revolution Radio is not American Idiot, as a whole (except for some small recycled riff), it turns out to be a valid, well-played album with a sharp and powerful sound. It is not a concept album, but there is a common thread in the songs... After all, simplicity has always been a strength of GD, who, although they haven't destroyed pop-punk, have shown us that after 30 years of career and induction into the hall of fame, they still know what they're doing. VIVA LA REVOLUTION!!