“21st Century Breakdown: Cynicism, tainted with hope.”

Green Day: 21st Century Breakdown

Through the cracking static and budding radio waves begins the first of many interludes of 21^st Century Breakdown. In the Cold War, lyricism shines through the failing radio.

“Song Of The Century”

Sing us a song of the century
That’s louder than bombs and eternity
The era of static and contraband
That’s leading us into the promised land
Tell us a story that’s by candlelight
Waging a war and losing the fight

They’re playing the song of the century
of panic and promise and prosperity
Tell me a story into that goodnight

Sing us a song for me …

CD Album Cover

And so begins the 21^st Century Breakdown, Green Days eight studio album. Told in three acts and with two protagonists, one cannot accuse this former punk-turned-punk pop band of keeping their dreams small. Set in Detroit, Michigan, the first act dubbed “Heroes and Cons” introduces Christian and Gloria. These twin characters begin a tumultuous relationship, a metaphor for the warring sides in Billie Joe Armstrong’s psyche. The story of the album is about nihilistic Christian and idealistic Gloria star in this rock opera, about an America falling toward a romantic vision of anarchy and destruction, hued in a rose-colored glow.

For me, the themes of political motivation and a budding relationship amidst anarchy are grounds for a great story. I’m a sucker for romantic Palahniuk-style destruction and this album delivers that in spades. Following the opening interlude dubbed “Song Of The Century” comes the title track.

“Born into Nixon/ I was raised in hell” adequately sums up the stereotypical rebellious punk rock mentality. This fine track offers a blend past rage towards the Nixon administration and the baby boomers. Nobody escapes the tongue-lashing Billie Joe Armstrong has dealt, not even himself. Here, he compares himself and his generation as a “Working Class zero.” For those of you who never caught it, Armstrong has an affinity for John Lennon and Bob Dylan, and has evened attempted to model his voice after the latter, with mostly positive results. His voice hasn’t changed much, still fit for producing power pop/ punk tracks. His screams of the past are scarce here, and it is missing.

The first act chronicles the guitar-driven anthems of exposition. Stadium rock at it’s finest; the stories of these two characters lives come forth. “Know Your Enemy” is one of the few songs that doesn’t really belong on the record. It wants to be a fist-pumping anthem and a call to arms, but all it really inspired in me was apathy. It is a simple track, repetitive and recorded almost exclusively as a single. It is catchy as hell, but catchy does not equal a quality track. Following that weaker track is a gentler ballad, “Viva La Gloria.” Here, we move into a more dramatic and less theatrical mode: maintaining a youthful idealism. The wrinkles on the skin are deemed a distinguishing feature, and Christian proclaims his desire for Gloria, and turns to face reality. Beginning with pianos and expression of youthful desire for relevant love strike a chord, particularly in me. This is one of my favorite tracks.

Turning pessimistic, “Before The Lobotomy” is possibly my favorite track on the album, with its driving chords and killer rapid-fire drum-work; it’s catchy and lyrically in-depth. Story-wise, it shows us a deeper side of Christian as he experiences a high, both physical and metaphorical. He sings the eulogy and is desperate to escape his refuge, longing for a place with laughter and love; something he can find and keep Gloria.

Speeding toward the end of the first act are the tracks “Christian’s Inferno” and “Last Night On Earth.” A vitriolic rage grips the first track, and a profession of love overcomes the second. Thus ends the first act, and begins the middle section.

Green Day - L to R: Mike Dirnt, Billie Joe Armstrong, Tre Cool

“East Jesus Nowhere” will infuriate you while drilling into that better part of your brain that causes one to raise their toes and brings them down in an emphatically rhythmic fashion. Shaking a middle finger at fundamentalists everywhere, and comparing them to “…a sacrificial suicide/ Like a dog that’s been sodomized”, Armstrong sings with an anger that is palpable and undeniably unrestrained, and his writing here is somewhat simplistic, but is adorned with enough slaps at organized religion and hypocrisy to get a smile from this jaded cynic.

After “East Jesus Nowhere”, the album takes a downward spiral. “Peacemaker” is oddly dissonant; beginning with an out-of-tune violin, it descends in an annoying tune that manages to continue the story, but make me turn down the volume multiple times. Normally, a Latin flavor is welcome, but in this track it is as out of place as an atom bomb in a peace conference.

From there, the second act suffers from a loss of direction, alternating in odd style choices and an overly complex narrative. “The Last of the American Girls”, “Murder City” and “Restless Heart Syndrome” act like filler. However, the alternative version of “Viva La Gloria [Little Girl]” begins with a funky slice and hooks into a low-key plea to find a home. The track is lyrically strong, and enough of a genuine oddity to keep my interest as we meander into the third act.

Exploding with Howard Beale-esque contempt, “Horseshoes and Hand grenades” screeches, “I’m not fucking around/ I think I’m coming out.” Christian has had enough, and is now struggling to reclaim Gloria, as he becomes a violent revolutionary. Right here, the album picks up and triples the cynicism and intensity that was sorely lacking towards the second half of the middle section. America is now under siege and encountering resistance.

“21 Guns”, a Lennon-like plea to lay down our arms and weapons, is like a breeze in a desert. It is a salute to the fallen, from the perspective of Christian as he mourns a fallen comrade. It takes its time and allows for a building and sweeping chorus that begs for one to pull out their cell phone and wave it in the air.

“American Eulogy” is sung while America burns and anarchy reigns. Green Day was recording the drums for this two-part song on election night in November 2008, when Barack Obama was elected president. Drummer Tré Cool recalled to Q magazine May 2009: “It was pretty insane. We were running in and telling Butch (Vig, producer), Yeah, we got another state!” Cool added that the song title is “kind of fitting, especially if Obama would have lost. We’d be busy trying to start a revolution if McCain had won.”

The album closer, returning to an introspective pace, is melodic and slow compared to the overwhelming anger of the third act. “See The Light” is just what it sounds like, crowing, “I don’t want to lose my sight/ I just want to see the light.” Compared to the irreverence of “East Jesus Nowhere”, “See The Light” uses biblical language, almost ironic but it works beautifully, bringing this album to a close.

Billie Joe Armstrong: Vocalist/ Lyricist/ Guitarist

Heroic in it’s own way, but also overly ambitious and at times average, 21^st Century Breakdown is one of my favorite albums released this year. Despite its flaws, and there are numerous flaws, it is exciting, epic and socially relevant and a throwback to the classic protest albums of the past. Bruce Springsteen and Bob Dylan would be proud.

Favorite tracks:

21^st Century Breakdown. Viva La Gloria. Before The Lobotomy. East Jesus Nowhere. 21 Guns. See The Light.

3.5 stars out of 5.

Works Cited (Pictures and Sources)

http://www.metrolyrics.com/green-day-lyrics.html

http://magazine.jamsbio.com/2009/05/20/green-days-latest-breakdown/

http://www.songfacts.com/artist:green_day.php

http://www.videosymusica.net/images/green-day-21st-century-breakdown-promo.jpg

http://www.scenepointblank.com/reviews/covers/02433.jpg

http://latimesblogs.latimes.com/photos/uncategorized/2009/03/03/green_day_.jpg

http://www.idobi.com/content/images/d5782_27588919-27588924-slarge.jp

http://mariahcareycollection.com/blog/G/GreenDay-21stCenturyBreakdown/greenday-21guns.jpg