| There's a clenched fist grasping a heart-shaped hand grenade on the cover of American Idiot, a militant mural presumably designed to inform us that Californian punk-pop vets Green Day love America but hate what's becoming of it. Inferences aside, you could argue that American Idiot is a suspect device--a punk concept album/rock opera primed to blow up in the faces of the ruling right-wing American classes but which could just as easily leave splattered egg on the faces of the insurrectionists. The concept is fuzzy (telly-brainwashed teenage runaway falls in with the wrong crowd, something or other happens with drugs, rock and a character called "Whatsername") and the political protestations against the metaphorical Arrnies and Dubyas are mere slapstick custard pies compared with the Dead Kennedys' CIA-bothering debunking of Reaganomics. However, something about American Idiot both excites and rings true whilst simultaneously beggaring belief. Spanning influences from The Who's Tommy to Husker Du's Zen Arcade, American Idiot has the listener living in cliff-hanging fear of an unexpected Richie Blackmore guitar solo or Tarkus-style ELP exposition but actually never strays from Buzzcockian melodiousness or phlegm-drenched rifferama even when things get ridiculous. "Homecoming", for example, is probably the best amalgamation of The Clash, Pink Floyd's The Wall, Millwall football supporters terrace chants, Deep Purple, The Levellers, Bob Mould, UK Subs, Rush, Pete Townsend and The Tubes you'll ever hear. American Idiot could be brave or it could be stupid, but it really can't be ignored. --Kevin Maidment |
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