Green Day side project Pinhead Gunpowder are teasing their return

Mark your calendars - the band have hinted at something to come at 6am PDT today (September 5)...

Green Day side project Pinhead Gunpowder have begun teasing their return.

Comprised of Green Day frontman Billie Joe Armstrong, touring guitarist Jason White, along with Bill Schneider on bass and Aaron Cometbus on drums and lyrics, Pinhead Gunpowder took to Instagram to post a cryptic message.

Though the band have been active since the early ’90s, they have one official studio album, their 1997 debut ‘Goodbye Ellston Avenue’.

But it appears there may be more to come. On their Instagram, the band shared a reel including a photo of the four of them, teasing some news would drop on September 5, 6am PDT. They also shared the logo for Oakland label 1-2-3-4 Go! Records and captioned the post: “Here goes the neighbourhood…”

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Take a look at the post below:

Over the years, there have been several Green Day side projects. Along with Pinhead, the whole band are also involved in the garage rock offshoot Foxboro Hot Tubs, along with new wave group The Network.

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Meanwhile, bassist Mike Dirnt and Armstrong also started The Coverups together alongside other Green Day touring members, where they normally perform special shows to sing various cover songs.

Armstrong has also formed another garage rock band called The Longshot, who released their debut album ‘Love Is For Losers’ in 2018.

In other news, a Green Day concert in Detroit was temporarily halted by an unathorised drone. The pop-punkers are currently embarking on their ‘Saviors’ stadium tour with Nothing But ThievesThe Hives, Donots, The Interrupters and Maid Of Ace as various support acts, where they are touring the release of their latest album ‘Saviors‘.

NME hailed the record as Green Day’s “best work since ‘American Idiot’ in a four-star review: “There’s also some serendipity in the band hitting the road to celebrate 30 years of ‘Dookie’ and 20 years of ‘American Idiot’ later this summer. Not only does ‘Saviors’ spiritually bridge the gap between the two, but it uses the palette of the best of the band to tell us something else.

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“Look to the artwork: ‘Dookie’ was a cheeky carpet-bombing of shit, ‘American Idiot’ was a hand grenade, ‘Saviors’ is an act of defiance met with a shrug; a band saying, ‘We’re still here and we’re still fucked’.”

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