From here onwards it’s more punk-like most of the time. The cover of the album boasts “Features: “X-kid”, “Eighth
Avenue Serenade” and “99 Revolutions””; they’re certainly the most exciting and energetic songs of the whole album. They’re also some of the most listenable tracks. “X-kid” is easily the best song on the album; the opening chords sound raw yet saddening, epitomising precisely what Green Day is attempting on ¡Tré!. The song manages to be cool whilst conveying a feeling of sadness; the simplicity (of inaudible bass, being a song based upon chords and not overly exciting eighth note groove drumming) can be forgiven as the overall product is brilliant. For all of “Brutal Love” and “The Forgotten”’s balladry, it is the simpler and more easily understood songs (music wise) that overall triumph. “The Forgotten” relies on piano as lead instrument but is backed by beautiful string arrangements; “Don’t look away/from the arms of a bad dream/don’t look away from the arms of love”. The song is admittedly a soft ending for the album trilogy; the guitar enters on a solo, carrying out a subliminal transition from piano lead to guitar lead, simultaneously altering the mood of the song. Surrounded by strings and simplistic drum beats, played on cymbals, the song almost washes you away in its epic sound. There is great variety on the album, even if some of the tracks, such as “Amanda”, “Sex, Drugs and Violence” and “Dirty Rotten Bastards”, can be thrown away.
Giving an overall opinion on ¡Tré! is too tricky a task. In a way, it’s an album that contains every aspect of Green Day; “Dirty Rotten Bastards” is meant to be a “Jesus of Suburbia” sound-alike; there are references to The Who (one section of bass solo split into four pieces by guitar in between, mimics My Generation). There are also references to the Stones, the Clash, Bowie, Iggy Pop and more. There are motifs both lyrically (like the line “Stop where the red lights flash” now appearing on all three albums) and musically (“99 Revolutions” and “Lazy Bones” from ¡Dos! have the same drum opening) . Experimentation, operatic vocals, almost pretentious music, all combined with raw chords, wild drumming (at some points) and a full emotional range. Admittedly, it can take a couple of listens to grow on you but it’s undeniable that, for at least some of the songs, ¡Tré! is worth hearing. On the trilogy as a whole, it may not be Green Day’s best work but it certainly tops most bands best efforts. Every album has a different feel, despite all 27 songs being written in the same time period. There’s experimentation in dance, disco, glam and soul amidst modern songs that somehow manage to hark back to nineties punk. All three albums have been a success. Now we’ll just have to wait to see what Green Day can offer next.