¡Tre!- Green Day


 Release Year: 2012

Rating: 9/10

The final installment to Green Day’s epic trilogy has been unleashed and just as with the other two albums, it’s full of amazing songs and some interesting experiments that are sure to divide the fans once again. ¡Tre! seems to be the final piece of the puzzle in the band’s message of acting out and growing up, even if you don’t want to. The album is a return to their previous sound found on American Idiot and 21st Century Breakdown. Ever since the release of ¡Uno! the band have called the this album epic one of the three and they may just be right.

The album starts on the same somber note where ¡Dos! left off with “Amy”. “Brutal Love” begins with a slow, somber guitar riff, but what makes this track different from the others is that it sounds like a 50’s soul song a la the Temptations. Even Billie’s vocals manage to match the sound here. It’s really different for the band, but the result is amazing and totally unexpected. It even has the old school cooing background vocals. What makes the song great is it still has their sound. During the bridge, the electric guitar kicks in and drums ring out loud to give it more of an edge. It’s one of the most daring songs from the band and it seems like it’ll be one of their most remembered.

Things pick up with the next track “Missing You.” If you’re looking for something with more energy and a punk rock tone, this is the song for you. The first lyric of the song is the best and something about it reels you in: “Waking up, feeling naked/in my clothes inside a room that’s vacant.” Something about that line paints the whole mood of the track: feeling vulnerable, exposed, and unsure of yourself because you’re not with someone you care about. Also, this song has a kick ass bass solo from Mike Dirnt. It shows off his skills, which sometimes gets buried in Billie’s intricate guitar playing. It’s catchy and awesome, just like most Green Day songs.

This is another album where every song is a potential hit. “8th Avenue Serenade” has a rockabilly influence like the sound found on the previous album, while “Drama Queen” is an acoustic folk song that sounds like something Bob Dylan would do back in the 60’s. “A Little Boy Named Train” is a return to the Foxboro Hot Tubs sound with the uptempo guitar riff and catchy melody, while “Amanda,” which seems to be about one of Billie’s early ex-girlfriends, is a return to the massive energy and fun songs that are classic Green Day. And the sweet, but said track “The Forgotten” ends the trilogy on a somber note, with a message of face all the bad things that may come your way. This song is also a bit different for the guys because there is a massive string section that we’ve never heard in their songs before. It actually makes it sound like a proper ballad.

My absolute favorite song on the album is “Dirty Rotten Bastards.” It begins with infectious chant of “Yeeeaaah, yeaaah, yeaah” that is sure to grab your attention. Everything about this song from the awesome guitar riff to the intricate looping bass line gets you pumped up for more. With how it’s addressed to “God’s losers,” “bottom feeders,” and “the rejects and wastes of time” it could be seen as a sequel to “Minority.” It’s also the longest track here, but because the song constantly changes tempo and sound without becoming disjointed, it never gets boring. It’s almost like the “Jesus of Suburbia” of the album. It’s an amazing song that’s bound to become a classic.

While all the songs are great, “Walk Away” is probably the weakest one. It’s not bad or anything, it’s just not as amazing as the other tracks. It’s actually unremarkable from the music to the simple chorus of “Walk away.” There’s no doubt that it’ll grow on you the more you hear it, but it seems too simple when compared to the other songs. Also, it sounds like something that would be found on Warning, but that does not make it a weak song. It just doesn’t blow your mind like the other songs found here.

For most of the trilogy, it seems that the guys stayed away from concepts and political charged tunes, but they make an exception here for “99 Revolutions.” It’s not their most political song, but it does talk about the occupy movement and the state of our economy. Maybe it’s because of the subject matter or the fast guitars, but it has an old school punk rock vibe to it. And for anyone who was begging for something more proactive from the band, this is the song that sounds like a reject from American Idiot. Maybe it’s not the best song about the movement out there, but it attempts to explain what it was about and how it has affected our society.

After listening to all three albums, I found a pattern that makes sense to me. I could be wrong, but it seems like the trilogy takes us through different stages of life and growing up. ¡Uno! deals with rebellion and recklessness, while ¡Dos! is about temptation and the consequence of said recklessness. But ¡Tre! feels like it’s about leaving that all behind and coming face to face with the fact that you have to grow up. The tracks “X-Kid” and “Sex, Drugs, and Violence” both have references about growing up or trying too hard not to grow up. The latter song has the clever line “I took a wrong turn at growing up and it’s freaking me out” and I think it means this person doesn’t know how to deal with growing up. “Amanda” also fits in with this theme. It’s basically an explanation for why their relationship didn’t work and how he was still a kid then, but they have both changed now. It’s as if the band is taking us through the different stages to becoming adults that we all have to face eventually.

Overall, the album gets 9/10. This record is quickly becoming the favorite out of the trilogy and it’s easy to see why. It’s filled with amazing songs that find them returning to their well established sound and did I mention how much the songs rock? But it still has a few experiments that seem to be found at least once on every album. It’s a fitting and almost sad end to an awesome and ambitious trilogy from Green Day. Somehow it brings all the albums together, even if the connection doesn’t appear to be that obvious.



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