'21st Century Breakdown' by Green Day

"Breakdown's" action centers on two archetypal ragamuffins, Christian and Gloria, who respond to the hollowness of modern-day America the way kids do -- by shutting down, breaking out, taking off and fighting back -- but the plot seems more like an organizing device for Armstrong's thoughts on religion, love, technology, oppression and revolution. If he needs to create this kind of framework to access his serious, ambitious side, then bring on the fiction workshops. Christian and Gloria's journey matters less, ultimately, than the one Green Day itself makes -- and that one is dazzlingly musical.

Having a narrative concept is hardly a distinguishing mark in pop these days. Recent purveyors of concept albums have included bar band the Hold Steady, metalheads Mastodon, R&B smartie Janelle Monae and, don't forget, Eminem. "21st Century Breakdown" stands out in this crowd because it's so damn masterful as music. This trio couldn't be tighter or more flexible, and aided by the radio-smart but also headphones-sensitive Butch Vig on production duties, it confidently navigates a wide but cohesive stream of rock music, starting with Holly and his peers and extending through the British Invasion, glam, punk, power pop, emo and, of course, Green Day's own catalog.

Oh, and did I mention gypsy music? "Peacemaker" has a party in the mosh pit by borrowing from Gogol Bordello. "Christian's Inferno" lets drummer Tre Cool show his muscle with an opening rhythm reminiscent of industrial music.

"Horseshoes and Handgrenades" is sweet, vicious California popcore, and "Know Your Enemy" is revolution rock that's making Joe Strummer dance in his corner of heaven right now.

Several luscious ballads allow Armstrong to show the softer side that's given the band its biggest hits, but the best love song is "Last of the American Girls," another sock hop number with lyrics about that New Wave sweetie for whom punk rockers always fall. Armstrong's specifics are ripe here; he knows this kind of woman, since he's been married to one for years.

Elsewhere, though, the lyrics prove to be a weak point. It's not because the alienation they express is outdated in the age of Obama. This world is still plenty messed up, and besides, does the political mood of 1975 define how we hear "Born to Run" now? Armstrong's problem is a typical punk one: He loves a good slogan, and too often his broadsides dip into cliche.

But the most common phrases can feel fresh when shouted out in an arena, and that's exactly what thrilled rock fans will be doing all summer as Green Day reasserts its dominance. Every kid should rediscover the language of questioning and self-assertion that Armstrong mines. Everyone should have a chance to yell "Revolution!" while a rock band plays.

It's wonderful that, after all this time, Green Day is still finding new ways to make that possible.

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ann.powers@latimes.com