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After that era, it's widely regarded that the overall quality of album releases from the band took a huge nosedive. Every single album that has come out since then has had some kind of major con to it. You can't really say anything about that for anything that came out prior to Uno. (Revrad was the only real exception to this musically, but I think it still had a major flaw in that it's production quality and volume levels were a bit all over the place.) There is nothing wrong with the band realizing this, taking a step back and asking themselves what worked in the past and what didn't. There is absolutely nothing wrong with the band trying new things and going in new directions. However, FOAM was not the right way of doing that. The whole era gives of vibes of them trying to ask themselves "what's cool with the kids these days?" and then trying to do it, but completely misunderstanding what's actually cool with the kids these days and instead ruining what could have been a decent Foxboro Hot Tubs album by filling it with gimmicky sounds, cringe marketing and disgraceful album art. Their heart just wasn't in it and it shows in their tour, where they pretty much didn't play a single song from it the entire time. 21st Century Breakdown is my favourite album by them because they went in new directions, but they did it in the right way. You still get everything most people love about Green Day in that record, but it's also got their most diverse genre experimentation, high quality production and incredible art. There is an extremely well threaded balance of familiarity on that album while still offering completely new flavours of Green Day that we hadn't really heard before, and to top it all off, the album is so huge and ambitious that it not only has a song for every possible mood you could be in, but it also manages to make them all fit together in one complete package. Saviours doesn't seem to be a concept album or anywhere near as ambitious as 21st Century Breakdown was and that's fine, but so far unlike FOAM, it does at least feel inspired and that the band are actually proud of it. I am hoping it can achieve a similar balance of fresh and familiar, but with the same level production quality we have heard from it so far.

FOAM felt like a lot of incomplete songs. Lots of “that’s good enough” songwriting. The good thing about ‘Saviors’ so far is that all the songs sound fully formed.

Yeah, but that's the point. Is desecrating your crowning achievement as an artist not a massive statement in itself? The whole point is playing with expectations, it's not a fuck you to their record label, but a fuck you to the fans that want to keep them in a box.

All good with me that you prefer FOAM. Different strokes for different folks and all. But I agree with @Red. I’m not looking for this band to reinvent the wheel. I expect them to do their thing and to do it well. So far, mission accomplished.

Tbf the OP wasn’t saying that Billie Eilish vanished without a trace, it was the celeb crush that BJ had on her that did. We thought they were going to do a collab together or something because suddenly he was going to her shows, taking photos with her backstage, doing interviews and a RS photoshoot together, exchanging gifts, talking her up to Howard Stern, etc. He was practically ready to adopt her and the relationship seemed to vanish along with FOAM. I agree there were a lot of weird pop interactions during that period that didn’t take place before or since. It’s like they played in the popstar kiddie pool for a year. Quoting this because you reminded me of the line "The brutality of reality is the freedom that keeps me from dreaming" 💚 Damn, that’s a really poetic way of saying “The American dream is killing me”. 21CB lyrics are 🤌😘

I totally get where some of you guys are coming from, but I honestly don’t think that the problem with FOAM is that it’s different from previous Green Day records. Sure, the deviation in sound might have contributed to the poor sales, but from a fan’s perspective, I believe that every band should be allowed to push their boundaries. Green Day tried to do that and I respect that. My problem with the record is that the songs itself just aren’t good, regardless of the new sound. If every song had the quality of Graffitia, Sugar Youth or even the title track, I’d be ok with the album. But that’s just not the case. There are some tracks on that album that are just bad. And there’s no point in being experimental just for the sake of it. So I am not criticizing the band for trying out new stuff. I’m criticizing them for the lazy songwriting and the cringy lyrics. That’s a difference. Concerning the new song, I don’t necessarily think that it’s fair to criticize them for playing it safe. Look at other big rock bands. The new Blink record is classic Blink and people are applauding them for it. The Foo Fighters have perfected their stadium rock sound and critics love every album they put out. Yet when Green Day release a “classic“ song, they get criticized for it, just like they get criticized for trying out new stuff (by some people). Are these the deepest lyrics ever? No. But I also don’t think that they are shallow. You simply cannot put a pamphlet on the problems with American society into a three minute song. But the song does address important issues, and that’s all that I expect from a radio-friendly punk rock song. Don’t get me wrong, I was extremely critical with FOAM and the trilogy, but this time, I truly don’t believe that there’s much to criticize. I think we can still say that there are no two Green Day albums that sound completely alike, and I respect the band for that.

I prefer Bang Bang to TADIKM. In fact there's a few songs from the post-21CB era that I would put above TADIKM. Despite the issues with production and lyrics, songs like Bang Bang, Let Yourself Go, Brutal Love and Stray Heart are probably songs I see myself returning to more often than TADIKM. The production doesn't really even bother me on Bang Bang. It does on other RevRad tracks but Bang Bang is easily the best song on RevRad. Don't get me wrong, TADIKM is a good track, possibly great. But it is really safe and not original for Green Day. It has elements of 21CB which I'm obviously fine with, as it's my favourite album, but well... I'd probably just prefer to listen to those 21CB tracks over TADIKM. The thing is, LMNB is a completely different type of song from TADIKM and even OEB and 1981 (even though we haven't heard the album versions of these tracks) seem like different enough tracks too. So Saviors could easily be the type of album that switches things up. Rather than it just being more 21CB/AI type songs, it's likely that there will be a few 21CB/AI type political tracks, maybe some Nimrod in there, maybe a bit of the trilogy or RevRad or FOAMF even in there. And maybe there will be songs in there that are completely new for the band. Before we talk about how much safer this album appears to be compared to FOAMF, how about we wait until we actually have the full album? We can't judge TADIKM fairly without the context of the full album. 21CB is my favourite album but I wouldn't like people to judge it just based on KYE, a song that I actually like, but 1) isn't representative of the album as a whole and 2) works better in the context of the full album due to how different the other tracks are, how KYE's double meaning gets revealed in RHS etc. In defense of TADIKM's lyrical content, I do not think that the lyrics here are the same kind of generic political songwriting Billie has been doing since the trilogy. This is not 99 Revolutions, Revolution Radio or Troubled Times type lyrics. It's not the generic "Revolution / We live in troubled times" lines that has plagued Green Day's political songs since 2012. Tbh I don't even dislike any of those songs but it's the type of songwriting that makes AI/21CB political tracks stand out so much more in comparison to RevRad. Bang Bang is the only "political" song on RevRad that stands out in terms of its lyricism and even then, the lyrics on that track aren't perfect. TADIKM seems similar, there's actually genuine meanings to that song that aren't just these generic buzzwords but it's still not exactly one of Billie's stand out lyrical masterpieces. The American Dream is something that was mentioned multiple times in 21CB. The title track ends with "Dream, America, dream, I can't even sleep from the lights early dawn" and Before the Lobotomy's intro/outro lyrics as well as the lyric that goes into the outro "The brutality of reality is the freedom that keeps me from dreaming" also makes similar type of commentary to TADIKM. The lyric about TikTok is actually very much AI/21CB type lyrics. For a band that spent a lot of time talking about the media in the 00's, mention of social media is to be expected. Even RevRad referred to the anti-social media. I don't like the argument that Green Day should just throw their stuff onto side projects if they're not "Green Day" sounding enough. Stop Drop & Roll IS a green day album. It should be a Green Day album at least. I understand why they wanted to release it as a side project at the time (i.e didn't want it to be the AI follow up, it was a new sound for them) but Billie said a few years ago that he wishes he released it under Green Day and I agree. MM2020 Pt II was a different thing, that's part of an already existing side project so it makes sense to release a more new wave sounding album under The Network. And The Longshot is exclusively for stuff that Billie writes and records on his own. If Tré and Mike were involved with all that stuff, it would make perfect sense to release that under the Green Day label. I'm totally fine with Green Day alternating between what's more traditionally sounding Green Day stuff and stuff that's more like Foxboro/Longshot, FOAMF type experiments. All releasing stuff under side projects does is ensure that few people actually hear the songs. And the band want people to hear these albums. Look at The Network albums and Stop Drop & Roll. Look how few views these songs have on youtube, on spotify etc. Why would the band decide to do that with FOAMF or with any other album they want people to hear? Idk if we can really ever expect a totally new Green Day sound. FOAMF honestly wasn't that different to me, my issues with FOAMF have nothing to do with the experimentation. It's the production, lyrical content and unnecessary sounds that come up throughout. Stop Drop & Roll is the last album that was a completely new thing for Green Day. I believe every album since then has at its core been influenced by American Idiot or Stop Drop & Roll (or MM2020 in the case of MM2020 Part II), maybe with some new elements or certain tracks that sound completely different. I'm honestly really curious what FOAMF would've sounded like if they started working with Rob for that album. Idk how much of a role Walker played in the overall sound but even if it was virtually none, I feel like Rob would've known when to stop Billie and tell him something isn't working. Say what you want about a track like Nightlife, at least the band really wanted to try and make a completely unique song. It didn't work in its entirety but I really like the bassline, I don't even hate Billie's vocals here. I think it works considering the type of song it is. Spotify streams for TADIKM Day 1 - 248k Day 2 - 487k (+239k) Day 3 - 663k (+176k)

It’s wild to me that anyone could be reminiscing on the FOAM era right after the band dropped two return to form HEATERS, but here we are.

God I love Bang Bang, the way that song was released and the hype around it, and then finally hearing it with no previous leaks, was such a moment. I don’t think TADIKM tops it for me personally (though I do love the song!)

Naw, I love the energy of bang bang and the drum solo always makes me smile. And their live performance of it with the "no trump, no kkk, no fascist USA" chant still gives me goosebumps when I watch it

Yes, the marketing for FOAM was super cringe, but I have no idea where you're getting the idea that they were uninspired and not proud of it. In interviews leading up to the release it was clear that they were very proud of it, and it seemed to be a very inspired recording session. There was no tour promoting FOAM. Hella Mega didn't happen until 1.5 years after its release and at that point the record was already unpopular among the general audience and hardcore fans, so they decided to pivot. As much of a shame as that is to me, it says nothing about how inspired or proud they were.

The insane amount of hate that FOAM gets boggles my mind. To the point where it feels like I'm not listening to the same album everyone else is. It's not their best, and it's a slight deviation from their normal sound, but some of the reactions would lead you to believe it's a hyperpop record or something.

Green day unfortunately cannot win in circumstances like this They try something new ... everyone shits on them for it and demands a return to old green day and now when they do that people complain that they are "boring" and "recycling that same old stuff again". It's a weird cycle 😅

Official music video is now at 987K views, putting it at 6000 more than HCTS got in 2 years. I think we can put that chapter behind us now.

Bang Bang is a better composition overall imho, more complex and I always saw it as what a modern Green Day song should sound like. But it’s not a song I come back often. However TADIKM has waaaaay better production and is way more catchy. So… one is better than the other in different aspects I guess

I prefer the the “raw energy” of bang bang, but TADIKM is stuck in my head as bang bang never was, production wise is at another level, and overall I think it’s a better song. At the moment I would agree with you, but I would love to come back to this post in a couple of years to see if my music taste made me change my mind 😄

Agreed and this is what makes the arts so interesting but difficult and frustrating. I don’t love Foam but I like it and I totally respect what they were going for, I liked Revrad but felt it was a little….safe is the best I can come up with. If that’s the best description then it’s totally understandable. Saviours is too early to judge, I think a few months from now I may like LMNB better than ADIKM but this is my band and I’m glad to have them back. It is totally Green Day which for some folk is good, not for others, c’est la vie! These guys have been doing this for 30 odd years, they are damned if they do, damned if they don’t. If you like it, great, if you don’t go listen to something else.

Heads-up: this post will be very long but marks my return to the online world of Green Day fandom. I finally decided to try my hand at Cigarettes and Valentines. I’ve read many posts here and elsewhere in preparation that try to identify all the songs that may have come from those sessions, but what I’m trying to do with this exercise is to curate the strongest album possible out of what survived, paying close attention to song sequencing. If you want the playlist only, skip to the end. My credentials and biases: longterm Green Day fan (20+ years), original member and prolific poster on the GD message board and Greenerton’s, favorite album Warning, favorite song "Church on Sunday." So I went in a direction that the ‘real’ C&V (if it ever existed) probably didn’t, focusing on love songs with lots of drama – almost embedding a mini-concept album about a stormy period in a couple’s relationship in the tracklist. Apparently C&V was intended to be a kind of ‘back to basics’ album (similar to the subsequent trilogy) with more fast and hard songs, but I’ve produced something closer to a mix of Warning, Nimrod, and the 2000-02 pop-punk and garage rock revival sounds (Blink-182 + The Hives). It’s where I think they would have landed without American Idiot, and the more I listen to the final product the more coherent it seems. I think it would have been a pretty great album on par with its two predecessors. Some basic parameters: I’m assuming American Idiot doesn’t (and possibly won’t) exist, but keep in mind the historical context of the year 2003. This would be the first GD album after the 2000 election and 9/11, so political (or semi-political) tracks like “Favorite Son,” “Wake Me Up When September Ends,” and “Governator” would fit with the mood of the time – even if we went further and assumed that the US never invaded Iraq (as I sometimes fantasize). I’m using only studio tracks already available (this means no “Olivia” etc.), with two exceptions: the best AI-mixed fake studio version of “Cigarettes and Valentines” (the song) I could find (which is truly excellent – no way around it, has to be on the album by virtue of being the title track), and the acoustic version of “Wake Me Up…” from Billie Joe’s audiobook (couldn’t find an original demo and the American Idiot version is overproduced for my purposes). If a version of “Letterbomb” without the Jesus of Suburbia stuff existed (and in a production style closer to the rest of the album), I would have definitely included it, but sadly it has to go. There is a brief mention of Jimmy in “Shoplifter” but it’s pretty minor and doesn’t substantially change the song (as I suspect was the case with the “Clusterbomb” to “Letterbomb” transition). When selecting songs, I tried to take the middle road between the absolutely confirmed, the maybe/probables, and some speculative outliers. Ultimately my choices were guided by personal preference and what sounded good. A couple of examples: “Walk Away” may or may not be the same track, but it has that Warning-like sound and fits perfectly in the middle of the album. “End of the World” aka “Roshambo” may have been a Network original that had nothing to do with C&V, but it sounds great as a second-to-last track with the apocalyptic theme. As a stylistic experiment with new wave, it would echo the diverse sounds on Nimrod and Warning (“Misery” anyone?!). Without further ado, here is the tracklist followed by a discussion of sequencing: 1. Too Much Too Soon (3:30) 2. Favorite Son (2:13) 3. Shoplifter (1:50) 4. Cigarettes and Valentines (2:40) 5. Hearts Collide (2:40) 6. Broadway (3:31) 7. Walk Away (3:46) 8. Horseshoes and Handgrenades (3:14) 9. The Pedestrian (2:17) 10. Lights Out (2:17) 11. When It’s Time (3:24) 12. End of the World (2:40) – this is Roshambo retitled (have to assume) 13. Wake Me Up When September Ends (9:19) – with Governator as hidden track after 5 min. of silence (I actually burned this on a CD) Total length: 43:32 (about the same as Warning with one – well, two – extra tracks) I begin with three American Idiot B-sides one after another, which feels weird but makes sense. “Too Much Too Soon” is radio-friendly and would make for a great first single. It’s less serious than what follows but sort of foreshadows it (similar to “Nice Guys Finish Last”). I debated whether or not to leave out “Favorite Son” but it would have appealed to fans at the time and eased them in with the pop-punk sound. “Shoplifter” didn’t fit anywhere else, but it connects back to the Warning sound, fits with the ‘diss track’ mini-theme, and is over relatively quickly. Even if these songs stand apart from what follows, there is precedent for offbeat tracks like “Blood, Sex, and Booze” and “The Grouch” being frontloaded. With “Cigarettes and Valentines” we get into the romance concept. The AI version I picked starts with a lovely slow buildup (signaling that we’re shifting gears) but the production still has that pop-punk sensibility so it acts as a perfect transition. “Hearts Collide” is about the start of the night and the exuberance of throwing yourself into love. “Broadway” takes us into darker territory, with the character roaming the streets while suffering (I originally had “The Pedestrian” here but the staccato riffs of “Broadway” stand out more compared to what we’ve heard up to this point). “Walk Away” ends this section on a more reflective note, the first slow song we’ve heard but the lyrics are uncertain – this is not yet a post-break-up song (more like the end of a fight). For comparison, at this point on Warning we were on “Deadbeat Holiday.” Then a sharp break into “Horseshoes and Handgrenades” to pick up the pace. This is an angry and fast song that restarts the cycle of fights and reconciliations. It would make a fantastic opener with the intro riff, but it doesn’t really sound like the rest of the album so would be misleading in that position. On a vinyl pressing (not likely in 2003) it would start side 2. Then into “The Pedestrian,” which has a happier sound but is quite lyrically bitter. Then “Lights Out,” which is technically more about the start of the night but also works as the lowest point of despair. Finally, we get to acceptance and hope with “When It’s Time,” which is similar to “Waiting” following “Jackass” on Warning. It’s a beautiful song that starts acoustic but builds up to a powerful crescendo and includes some nice solo work – it would be too on-the-nose as a final track (you can’t end with what is essentially a power ballad). “End of the World” (aka Roshambo) serves as a pseudo-closer with the awareness of bleak things (apocalypse) perfectly balanced with the redemptive power of love (“All I really believe in is you”). Finally, the acoustic version of “Wake Me Up” is mostly a coda but would be a clear standout track that takes us out of the romance theme and to other themes (family, politics, and the intensely private self – why it has to be just Billie and the guitar). Comparisons with “Good Riddance” and hot takes about 9/11 at the time (especially without Iraq) would have been guaranteed and generated buzz for the album. “Governator” doesn’t fit anywhere but would be a perfect hidden track (the precedent here is obviously “All by Myself”) that would have seemed very funny in October 2003 and would have showcased Mike Dirnt’s vocals for basically the first time. TLDR? Complete YouTube playlist here – please give it a listen start to finish: https://youtube.com/playlist?list=PLtYupMj81pQ2gS_YTMQW8t9WQXKnD_p7_&feature=shared (only platform where all these versions are available) Comments and critiques welcome!

Looks like the YouTube views could hit the 1M mark by tonight/tomorrow morning. I noticed it was going up around 10k an hour last night. It’s currently 3.45 in the afternoon here in the UK - views are just over 950.7K

Which album has 17 trac.... Wait, are you not counting Haushinka for Nimrod?

This

🤘

Just heard TADIKM and LMNB on Underground Garage, switched to Alt Nation and now they’re playing TADIKM there!

Just heard LMNB on Underground Garage! They played TADIKM first and then went right into the B side. Awesome! Edit: Now just switched to Alt Nation and they’re playing TADIKM there lol!

I started collecting random compilations featuring some of favorite bands on them years ago and it's funny what I end up with. Never thought I would actually own the Godzilla or x files soundtrack 😂

I think their promotion strategy since post 21cb has been as such in no particular order: 1) mass appeal single 2) more radio friendly rock/alt appealing single 3) hardcore green day fan single Maybe it’s me but it’s hard to be excited for albums anymore in the current format.There’s no mystery, excitement or build up anymore. I think social media makes certain elements of a release go viral and that produces unnecessary group think. Such as foamf just being overall terrible and GD is a boomer band and they’ll never make a good record again etc i actually liked Junkies On A High and thought it was a solid and different song. I know people hated it but I don’t care I appreciated it. I also liked the title track and thought it was good to hear them release a single that is actually different. Still my least favourite album by them for a variety of reasons but those reasons are determined by myself, not by others. Why didn’t social media and the loudest of the group shout that Green Day’s worst is still better than many other’s best work? You can already see negative group think forming on that tik tok lyric. Im glad they called it out. There’s some kid out there in this world that probably feels the negative effects of that platform or any other that’s out there. That voice could be a saving grace for them. Theres also a lot of drones in this world now that listen to lyrics at face value and they dont have the IQ to understand you need to read between the lines and actually do some THINKING. Instant delivery of information right to our palms is starting to make society complacent as a whole.

She’s gonna clap her hands like it’s 1981

I misunderstood the original post, but then I don’t understand how we can assume his opinion over Billie Eilish or Arianna Grande changed since then. They were both touring and promoting their music at that point, and Billie Eilish was THE act everyone was talking about back then. It seems all quite normal stuff to say and do at that point, especially if asked in an interview about her. And if I recall correctly it all stemmed from a fun exchange on Instagram. I don’t see how his appreciation for Billie Eilish can be brought up as an example of the bad FOAM promotion, that’s my point.

Wouldn’t it be cool if the album had 2 more songs 👀

These YouTubers, man.

The live version of American Dream has officially made me love it (that piano section sounds incredible), but I am totally with you. I'd give TAMDIKM an 8 whereas I'd give Bang Bang a 9 (I would have given it a 10 if it had TAMDIKM's production). They're both really damn good but I fell in love with Bang Bang on first listen. I really hope they put it back on the setlist.

There's no need to get insulting. If you disagree how about you actually have a civil conversation about it.

I heard some of you guys talking about FOAM and....wait. I typed "FOAM" into Spotify and now I'm listening to some weird song "Get On Board". Okay, that works. You guys need to get on board with Father of All... AND the band FOAM because both are pretty rockin. Interesting facto and kind of speaks to how much better the album did than people think: The LEAST streamed song is Junkies on a High with a 5.2 million streams which is better than some songs off Insomniac, warning and so many more. Anyway. American Dream Is Killing Me is a strong lead single, but I don't want the entire album to sound like that. My only criticism of it is that it's not very emotional. It's not making me laugh or cry and think a whole lot. It just rocks.

It’s wild to me that you find it wild, weirdo

Such a sophisticatedly well written and thought provoking response. Incredible and awe inspiring 👏

I get the point... but it doesn't make it "good", it just makes it exactly what it is which is a painfully average product that lacks the confidence or care to have it's own identity. I've said it before and I will say it again, FOAM is not a bad record. I honestly don't get the overwhelming amount of hate it gets, but it's also not what I buy a Green Day record for. It's easily my least favourite record of theirs but there are still qualities about it that I enjoy. My main issue with it is that it could have easily avoided it's biggest flaws and been a 7/10 record had it not been marketed, produced and released the way it was. Instead, I gave it a 5/10 which is the lowest score I have given to any Green Day album ever. I am going to quote a comment that I saw that I think really helps me try to get the point across that I am trying to make. THIS is what I am talking about. The band could have made FOAM a Foxboro Hot Tubs side project record and ditched whatever gimmicks they were forcing into the otherwise (mostly) decent songs on the album and it would have been fine. We could have still enjoyed it and it wouldn't have hurt the band's reputation. The problem is that they released it the way we know it and we as fans were just supposed to accept that FOAM is what Green Day's standards were now. Again, there is nothing wrong with trying new things and experimenting with different sounds like they have done really well on most of their records, but when it deviates a bit too much, then it's side project time. That's why we have stuff like SD&R and The Network. We can enjoy both, but when something is put under the Green Day name, I have higher expectations and they should too. They used to be one of if not the biggest band in the world during the 90s and 00s after all. I grew up listening to Green Day when they were not only consistently putting out quality songs, but also quality production and marketing for those songs, and it wasn't just a few songs, it was every single album. It all adds up to what makes a good quality Green Day product. I really don't want to sound entitled, but if I buy a record of theirs, I have expectations and these expectations largely haven't been met since 2009. Every album from their debut up until then set those expectations of what Green Day is and what they are capable of. Not every album needed to be or was a masterpiece, but they were all ranging from great at worst to about as flawless as I could have imagined them being... After that, well: The trilogy was diverse and melodically what I loved about the band but it also felt extremely rushed and there were many songs on there that could have been so much better had they had more work put into them. The production was extremely bland to the point where nearly every song just sounded the same and lacked a unique feel outside of the core fundamental elements of the songs themselves. Oh and of course one of the biggest issues of all is that the guitars lacked a good iconic Green Day sound that just didn't deliver that satisfaction or attitude that they had until that point and it wasn't just on one or two of the songs, but all of them. Overall I think it was good but it also could have been great. Revolution Radio came out it with songs that had clearly had a lot more work done on them. It was quality over quantity this time and the songs were fully realized and all fit on the album nicely while also each having their own unique feel like we were used to from the older albums but the audio wasn't great quality and a lot of the unique aspects of the songs were drowned out in the combination of average mixing and volumes that were either way too loud or way too soft. Overall I think it was great but it also could have been excellent. Now that the band had course corrected, I once again looked forward to the natural direction and evolution I had been waiting for them to head in in since the 21CB days but then FOAM came out and could have easily been a decent little record but... well, I think I've made my opinion pretty clear on that one so I am not going to keep repeating myself. Overall I think it was average but it also could have been good. Notice all the buts though? The only buts I can think of prior to Uno were the first two albums being fantastic but they obviously didn't have the funds back then to make them sound as good as the later records did and 21cb might be a little long for some people... but these very few "buts" aren't really bad things, are they? Anyways, this new single is yet another course correction for me and I am really glad their overall standards for this record have been raised much closer to what I expect from them, but I am still going to remain skeptical and hold my full judgment till I've heard the entire album.

Anyone else think TADIKM is significantly better than Bang Bang?

I think this is where I diverge from a lot of the fanbase. I personally don’t really like Revolution Radio at all because it feels like a step backward toward what made them successful before the Trilogy flopped. I appreciate its energy and it’s not necessarily horrible lyrically or anything, it’s just… I mean it came out 12 years after American Idiot. If they were putting out albums that sounded heavily inspired by Dookie in 2006, I think most people would agree that they were way off track. Again, not to shit all over Billie’s songwriting, but it feels a bit inauthentic at that point. Like they wanted to be a political band, but they didn’t quite have the chops to write lyrics with the same depth as System of a Down or the same angst as The Bronx. It’s an odd position to be in - the face of radio-friendly punk rock - but I think they’ve struggled to find a well that hasn’t been tapped dry ever since 21CB. Add to that all the super mainstream, very corporate stuff like the Amazon Music show they just played.. I mean it just doesn’t hit home for me. That’s why I really appreciate Money Money 2020 Part II and why I genuinely like FOAM for being a new sound for Green Day. I can’t say whether or not they were proud of it, but it sounded like they were having a lot of fun and I know I did listening to it.

It’s all totally subjective and that’s cool. The band have always taken sidesteps in different directions with every album. It’s important not to stagnate. FOAMF wasn’t a side step. It was a misstep. Like on-the-Wikipedia-page-for-albums-considered-the-worst-ever, misstep. It’s stopped being subjectively bad, and crossed over into being objectively bad. It feels like they needed to get that out of their system, and I’m actually glad to be in musically safer territory. I’m all for rehashing old ideas if it means we don’t get another FOAMF.

To each their own, I guess. I liked FOAM just fine, had fun with it, but this single is Green Day for me. Powerful sound, great lyrics (which imo are not empty social commentary at all, quite the contrary), and no fear of sticking to what they're good at. Those are the main reasons RevRad was so well received: it was a return to form, just like this. But this is even better, even bolder. Guys, they're a punk rock/pop punk band. There's only so much they can do before they start sounding like something else entirely. And we don't want something else, we want Green Day. They have side projects for different sounds, we can always enjoy those on the side too. At the end of the day, you can't please everyone. I'm just glad I'm very, very, very pleased this time around lol

I don’t know if this is going to steal anyone’s thunder but a new Beatles song is being released November 2. Can you imagine announcing a single and a massive tour and getting upstaged by The BEATLES in 2023??

I don't think it's an expectation thing. This isn't post-Warning era, there's nothing to prove. I think they obviously want it to be well received but this isn't do or die for them. I heard it's been doing really well on the radio so far. We downplay GD sometimes because we have been humbled by the last decade or so. I also think we have unrealistic expectation of this song blowing up overnight. Even American Idiot took time to build momentum. It did over the course of a month and then never dropped off. I'd rather have a normal start that leads to longevity than a huge start and a big burnout moment.

The tracklist is official, or where is it from? 'cause it sounds like a That Dude's usual tracklist. No offense, @That Dude

I think the industry has changed a lot over the years so I’m not surprised. It’s basically a partnership. Green Day is a huge entity in itself but they want to outsource the distribution part? The rest they may have covered. The main reason for going to a major label back in the day was for resources. The expertise of the different departments and the $$$ backing. I think NOFX was right saying Dinosaurs Will Die. That’s what we’ve seen over the past 15 years or so.

Lyrically this song makes me think of Fever Blister, like if Billie was writing these lyrics from a certain character's point of view then I'd say both songs were from the same character

I like FOAM as well. Maybe not Top 3 but a solid album. BUT the promotion was cringe as fuck. I mean, what was that? Beer Pong with Post Malone, cameos in some rap music videos, sudden hate for Ariana Grande and love for Billie Eilish that both vanished without a trace 😅

It's cool man, as I said, to each their own. I don't think the lyrics are as shallow as you are portraying them, but I have to give it to you that they're not as good as these other examples. Still, I'm judging this song as a first single that's meant to be super catchy and fun for everyone, and on those terms I think it does a pretty good job lyrically. but I'm biased because the small jab at capitalism had me cheering, i'm a basic bitch like that

If the GD fandom likes the album, at least a good amount of the fandom likes it, it will perform better than FOAMF. That won't be hard unless it gets similar reception to FOAMF. But really, FOAMF's reception was as bad as you can imagine. Among fans, among casual listeners, mainstream audience, critics. I honestly can't see this being just a repeat of FOAMF, based on what we've heard they seem to be going in a more "Green Day" sounding direction which off the bat I think puts it ahead of FOAMF. I wouldn't be expecting it to really do any better than RevRad. Maybe slightly. But those expecting American Idiot, Dookie or even Nimrod/21CB levels of success are honestly mad I think I don't think the issue is with GD being less successful with singles than albums. It's just much easier to reach no. 1 on the US Billboard 200 (albums weekly chart) than the US Hot 100 (singles chart). The Hot 100 chart is filled with mainstream pop and rap stuff, rock is rarely seen there at all these days. Whereas rock bands still get on the Billboard 200, they won't reach the top positions as often but they can still reach the no. 1 position from time to time

There was this one advertisment text that talked only about the Songs "TADIKM" "Look Ma, No Brains!" and "Father to a son". Thats why i think that Father to a son might actually be the next single after look ma

I was just listening to Underground Garage on Sirius and Michael Des Barres played BOTH SIDES of TADIKM single for the 'Coolest Song(s) In The World This Week' segment. He specifically mentioned it being a digital release w/ the a-side released 10/24 (duh) and LMNB being released digitally on 10/31... I crapped ass when he started the intro and said he was playing both sides. I lowered the windows (even though it's 40*F), cranked the volume, and drove around on full stoke for 5 minutes. Dopamine and serotonin are awesome!